Here is Rodins famous sculpture the Gates of Hell.
Note that at the entrance canopy sits Rodin's other famous figure; the Thinker.
Says something don't it. What though? Hmm have to think about it.
I got it! The Devil made me do it.
Of course the devil had something to do with it after all Aleister Crowley counted Rodin as a friend and a great artist. There were few great artisits in his opinion as great as himself. So this was rare praise indeed for Crowley. Who wrote a poetic paen to Rodin's sculptures; Rodin in Rime.
1902 Visits Bennet in Burma. Leaves for Paris. In Paris meets Sommerset Maugham who mocks him in the character of Oliver Haddo in one of his earliest novels, The Magician. Collaborates with Auguste Rodin, and produces Rodin in Rime.
In France one attains eminence by a less gratuitous Golgotha. Men of art and letters are respected and honoured by each other and by the public. Their final position in history is quietly assigned by time. It is only in very exceptional circumstances that a great man is awarded the distinction of a Calvary. Of course, Zola went through the mill; but only because he had butted into politics by his
J'accuse; he was only denounced as obscene because any stick is good enough to beat a god with.
But, as luck would have it, I had arrived in Paris on an occasion which history in France can hardly duplicate; Rodin was being attacked for his stature of Balzac. I was introduced to Rodin and at once fell in love with the superb old man and his colossal work. I still think his Balzac the most interesting and important thing he did. It was a new idea in sculpture. Before Rodin there had been certain attempts to convey spiritual truth by plastic methods; but they were always limited by the supposed necessity of "representing" what people call "nature". The soul was to be the servant of the eye. One could only suggest the relations of a great man with the universe by surrounding a more or less photographic portrait of him with the apparatus of his life work. Nelson was painted with a background of three-deckers and a telescope under his arm; Wren with a pair of compasses in front of St. Paul's.
Rodin told me how he had conceived his Balzac. He had armed himself with all the documents; and they had reduced him to despair. (Let me say at once that Rodin was not a man, but a god. He had no intellect in the true sense of the word; his was a virility so superabundant that it constantly overflowed into the creation of vibrating visions. Naively enough, I haunted him in order to extract first-hand information about art from the fountain head. I have never met anyone --- white, black, brown, yellow, pink or spot-blue --- who was so completely ignorant of art as Auguste Rodin! At his best he would stammer out that nature was the great teacher or some equally puerile platitude. The books on art attributed to him are of course the compilation of journalists.)
He was seized with a sort of rage of destruction, abandoned his pathetically pedantic programme. Filled with the sublime synthesis of the data which had failed to convey a concrete impression to his mind, he set to work and produced the existing Balzac. This consequently bore no relation to the incidents of Balzac's personal appearance at any given period. These things are only veils. Shakespeare would still have been Shakespeare if someone had thrown sulphuric acid in his face. The real Balzac is the writer of the Comédie Humaine; and what Rodin has done is to suggest this spiritual abstraction through the medium of form.
Most people do not realize the power which genius possesses of comprehending the essence of a subject without the need of learning it laborously. A master in one art is at home in any other, without having necessarily practised it or studied its technicalities. I am reminded of the scene in Rodin's studio which I described in a sonnet. Some bright spirit had brought his fiddle and we were all bewitched. Rodin suddenly smiled and waved his hand towards "Oan et Syrinx". I followed the gesture: the bars just played were identical with the curve of the jaw of the girl. The power to perceive such identities of essence beneath a difference of material manifestation is the inevitable token of mastery. Anyone who understands (not merely knows) one subject will also understand any other, whether he also knows it or not. Thus: suppose there had also been present a great gardener, a great geologist and a great mathematician. If they did not understand and approve that signal of Rodin's, I should refuse to admit that they were real masters, even of their own subjects. For I regard it as an infallible test of a master of any art or science that he should recognize intuitively (Neschamically) the silent truth, one and indivisible, behind all diversities of expression.
I find by experience that any man well learned in a subject, but whose understanding of it falls short of the mastery I have described, will profoundly resent this doctrine. It minimizes the dignity of his laborious studies and in the end accuses him of inferior attainment. The more sophisticated victim can usually put up an apparently non-emotional defence in the form of a scepticism as to the facts, a scepticism those obstinate irrationality is plain to an outside observer, but seems to the victim himself a simple defence of what he feels to be truth. This type of Freudian self-protection is often entirely passion-proof even against direct accusation of intellectual pride and jealousy. It relies on the ability of the mind to confuse, when hard-pressed, the essence of a subject with its accidents. Nothing but a very pure aspiration to truth --- and experience (often humiliating) of such reactions --- is of much use against this particular kind of bondage.
While other defenders of Rodin were apologizing for him in detail I brushed aside the nonsense --- "a plague o' both your houses!" --- and wrote a sonnet, which is, in its way, to conventional criticism exactly what the Balzac was. It was translated into French by Marcel Schwob and made considerable stir in Paris. Even at this length of time, I attach a certain importance to it. For one thing, it marks a new stage in my own art.
BALZAC
Giant, with iron secrecies ennighted,
Cloaked, Balzac stands and sees. Immense disdain,
Egyptian silence, mastery of pain,
Gargantuan laughter, shake or still the ignited
Stature of the Master, vivid. Far, affrighted,
The stunned air shudders on the skin. In vain
The Master of La Comédie Humaine
Shadows the deep-set eyes, genius-lighted.
Epithalamia, birth songs, epitaphs,
Are written in the mystery of his lips.
Sad wisdom, scornful shame, grand agony
In the coffin folds of the cloak, scarred mountains, lie,
And pity hides i' th' heart. Grim knowledge grips
The essential manhood. Balzac stands, and laughs.
The upshot was that Rodin invited me to come and stay with him at Meudon. The idea was that I should give a poetic interpretation of all his masterpieces. I produced a number of poems, many of which I published at the time in the Weekly Critical Review, an attempt to establish an artistic entente cordiale. The entire series constitutes my Rodin in Rime. This book is illustrated by seven often lithographs of sketches which Rodin gave me for the purpose.
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