Savannah-la-Mar | Fiction | The Dark Interpreter
Savannah-la-Mar | SF | The Dark Interpreter
Ascend with me on this dazzling Whitsunday the Brocken of North Germany. The dawn opened in cloudless beauty; it is a dawn of Bridal June; but, as the hours advance, her youngest sister April, that sometimes cares little for racing across both frontiers of May, frets the bridal lady’s sunny temper with sallies of wheeling and careering showers, flying and pursuing, opening and closing, hiding and restoring. On such a morning, and reaching the summits of the forest mountain about sunrise, we shall have one chance the more for seeing the famous Spectre of the Brocken.1 Who and what is he? He is a solitary apparition, in the sense of loving solitude; else he is not always solitary in his personal manifestations, but, on proper occasions, has been known to unmask a strength quite sufficient to alarm those who had been insulting him.
Now, in order to test the nature of this mysterious apparition, we will try two or three experiments upon him. What we fear, and with some reason, is, that as he lived so many ages with foul Pagan sorcerers, and witnessed so many centuries of dark idolatries, his heart may have been corrupted; and that even now his faith may be wavering or impure. We will try.
Make the sign of the cross, and observe whether he repeats it (as on Whitsunday2 he surely ought to do.) Look! he does repeat it; but the driving showers perplex the images, and that, perhaps, it is which gives him the air of one who acts reluctantly or evasively. Now, again, the sun shines more brightly, and the showers have swept off like squadrons of cavalry to the rear. We will try him again.
Pluck an anemone, one of these many anemones which once was called the sorcerer’s flower,3 and bore a part perhaps in this horrid ritual of fear; carry it to that stone which mimics the outline of a heathen altar, and once was called the sorcerer's altar;3 then, bending your knee, and raising your right hand to God, say,—“Father, which art in heaven, this lovely anemone, that once glorified the worship of fear, has travelled back into thy fold; this altar, which once reeked with bloody rites to Cortho, has long been rebaptized into thy holy service. The darkness is gone; the cruelty is gone which the darkness bred; the moans have passed away which the victims uttered; the cloud has vanished which once sate continually upon their graves, cloud of protestation that ascended for ever to thy throne from the tears of the defenceless, and the anger of the just. And lo! I thy servant, with this dark phantom, whom for one hour on this thy festival of Pentecost, I make my servant, render thee united worship in this thy recovered temple.”
Look now! the apparition plucks an anemone, and places it on an altar; he also bends his knee, he also raises his right hand to God. Dumb he is; but sometimes the dumb serve God acceptably. Yet still it occurs to you, that perhaps on this high festival of the Christian Church, he may be overruled by supernatural influence into confession of his homage, having so often been made to bow and bend his knee at murderous rites. In a service of religion he may be timid. Let us try him, therefore, with an earthly passion, where he will have no bias either from favor or from fear.
If, then, once in childhood you suffered an affliction that was ineffable; if once,when powerless to face such an enemy, you were summoned to fight with the tiger that couches within the separations of the grave; in that case, after the example of Judæa (on the Roman coins)—sitting under her palm-tree to weep, but sitting with her head veiled—do you also veil your head. Many years are passed away since then; and you were a little ignorant thing at that time, hardly above six years old; or perhaps (if you durst tell all the truth) not quite so much. But your heart was deeper than the Danube; and, as was your love, so was your grief. Many years are gone since that darkness settled on your head; many summers, many winters; yet still its shadows wheel round upon you at intervals, like these April showers upon this glory of bridal June. Therefore now, on this dovelike morning of Pentecost, do you veil your head like Judæa in memory of that transcendent woe, and in testimony that, indeed, it surpassed all utterance of words. Immediately you see that the apparition of the Brocken veils his head, after the model of Judæa weeping under her palm-tree, as if he also had a human heart, and that he also, in childhood, having suffered an affliction which was ineffable, wished by these mute symbols to breathe a sigh towards heaven in memory of that affliction, and by way of record, though many a year after, that it was indeed unutterable by words.
This trial is decisive. You are now satisfied that the apparation is but a reflex of yourself; and, in uttering your secret feelings to him, you make this phantom the dark symbolic mirror for reflection to the daylight what else must be hidden for ever.
Such a relation does the Dark Interpreter, whom, immediately the reader will learn to know as an intruder into my dreams, bear to my own mind. He is originally a mere reflex of my inner nature. But as the apparition of the Brocken sometimes is disturbed by storms or by driving showers, so as to dissemble his real origin, in like manner the Interpreter sometimes swerves out of my orbit, and mixes a little with alien natures. I do not always know him in these cases as my own parhelion. What he says, generally is but that which I have said in daylight, and in meditation deep enough to sculpture itself on my heart. But sometimes, as his face alters, his words alter; and they do not always seem such as I have used, or could use. No man can account for all things that occur in dreams. Generally I believe this—that he is a faithful representative of myself; but he also is at times subject to the action of the god Phantasus, who rules in dreams.
Hailstone choruses4 besides, and storms, enter my dreams. Hailstones and fire that run along the ground, sleet and blinding hurricanes, revelations of glory insufferable pursued by volleying darkness—these are powers able to disturb any features that originally were but shadow, and so send drifting the anchors of any vessel that rides upon deeps so treacherous as those of dreams. Understand, however, the Interpreter to bear generally the office of a tragic chorus at Athens. The Greek chorus is perhaps not quite understood by critics, any more than the Dark Interpreter by myself. But the leading function of both must be supposed this—not to tell you anything absolutely new, that was done by the actors in the drama; but to recall you to your own lurking thoughts—hidden for the moment or imperfectly developed, and to place, before you, in immediate connection with groups vanishing too quickly for any effort of meditation on your own part, such commentaries, prophetic or looking back, pointing the moral or deciphering the mystery, justifying Providence, or mitigating the fierceness of anguish, as would or might have occurred to your own meditative heart—had only time been allowed for its motions.
The interpreter is anchored and stationary in my dreams; but great storms and driving mists cause him to fluctuate uncertainly, or even to retire altogether, like his gloomy counterpart, the shy Phantom of the Brocken—and to assume new features or strange features, as in dreams always there is a power not contented with reproduction, but which absolutely creates or transforms. This dark being the reader will see again in a further stage of my opium experience; and I warn him that he will not always be found sitting inside my dreams, but at times outside, and in open daylight.
1 “Spectre of the Brocken.”—This very striking phenomena has been continually described by writers, both German and English, for the last fifty years. Many readers, however, will not have met with these descriptions; and on their account I add a few words in explanation, referring them for the best scientific comment on the case to Sir David Brewster’s “Natural Magic.” The spectre takes the shape of a human figure, or, if the visitors are more than one, then the spectres multiply; they arrange themselves on the blue ground of the sky, or the dark ground of any clouds that may be in the right quarter, or perhaps they are strongly relieved against a curtain of rock, at a distance of some miles, and always exhibiting gigantic proportions. At first, from the distance and the colossal size, every spectator supposes the appearance to be quite independent of himself. But very soon he is surprised to observe his own motions and gestures mimicked; and wakens to the conviction that the phantom is but a dilated reflection of himself. This Titan amongst the apparitions of earth is exceedingly capricious, vanishing abruptly for reasons best known to himself, and more coy in coming forward than the Lady Echo of Ovid. One reason why he is seen so seldom must be ascribed to the concurrence of conditions under which only the phenomenon can be manifested; the sun must be near to the horizon (which of itself implies a time of day inconvenient to a person starting from a station as distant as Elbingerode); the spectator must have his back to the sun; and the air must contain some vapor, but partially distributed. Coleridge ascended the Brocken on the Whitsunday of 1799, with a party of English students from Goettingen, but failed to see the phantom; afterwards in England (and under the three same conditions) he saw a much rarer phenomenon, which he described in the following eight lines. I give them from a correct copy (the apostrophe in the beginning must be understood as addressed to an ideal conception):
“And art thou nothing? Such thou art as when
The woodman winding westward up the glen
At wintry dawn, when o’er the sheep-track’s maze
The viewless snow-mist weaves a glist’ning haze.
Sees full before him, gliding without tread,
An image with a glory round its head
This shade he worships for its golden hues,
And makes (not knowing) that which he pursues.
2 “On Whitsunday.”—It is singular, and perhaps owing to the temperature and weather likely to prevail in that early part of summer, that more appearances of the spectre have been witnessed on Whitsunday than on any other day. ⇑
3 “The sorcerer’s flower,” and “the sorcerer’s altar.”—These are names still clinging to the anemone of the Brocken, and to an altar-shaped fragment of granite near one of the summits; and it is not doubted that they both connect themselves through links of ancient tradition with the gloomy realities of Paganism, when the whole Hartz and the Brocken formed for a very long time the last asylum to a ferocious but perishing idolatry. ⇑
4 “Hailstone choruses.”—I need not tell any lover of Handel that his oratorio of “Israel in Egypt” contains a chorus familiarly known by this name. The words are—“And he gave them hailstones for rain; fire, mingled with hail, ran along upon the ground.” ⇑
