Critical Idiom - Epiphany
An article by Bernard Richards, reprinted here
with the kind permission of `The English Review'
Everyone has sudden flashes of
perception and insight. Writers have a name for them - epiphanies
Epiphany is Twelfth Night - 6
January - when Christ was visited by the Three Wise Men, and his divinity was
revealed to the world. It derives from a Greek word, epiphainein, meaning 'to
manifest', and in pre-Christian times it was used 10 record appearances of gods
and goddesses. Traditionally the word has kept this specific religious
association, but in our century it has been secularised to refer to other,
non-divine forms of revelation.
Joyce's secular epiphany
The principal writer to extend
the meaning of the word as a secular term was James Joyce, who was interested in
sudden, dramatic and startling moments which seemed to have heightened
significance and to be surrounded with a kind of magical aura. The well-known
reference is in Ulysses, when Stephen Dedalus is thinking to himself:
'Remember your epiphanies on
green oval leaves, deeply deep, copies to be sent if you died to all the great
libraries of the world, including Alexandria? Someone was to read them there
after a few thousand years....
The notion of the Joycean
epiphany was first outlined in Stephen Hero (the early version of A
Portrait of the Artist as a Young Man), when a casual incident in Eccles
St., Dublin strikes Stephen:
A young lady was standing on the
steps of one of those brown brick houses which seem the very incarnation of
Irish paralysis. A young gentleman was leaning on the rusty railings of the
area. Stephen as he passed on his quest heard the following fragment of colloquy
out of which he received an impression keen enough to afflict his sensitiveness
very severely.
The Young Lady - (drawling
discreetly) ... 0, yes... I ....... at the ...cha...pel...
The Young Gentleman - (inaudibly) ... I ... (again inaudibly) ... I
The Young Lady - (softly) .0... but you're ... ve....ry... wick...ed...
This triviality made him think of
collecting many such moments together in a book of epiphanies. By an epiphany he
meant a sudden spiritual manifestation, whether in the vulgarity of speech or of
gesture or in a memorable phase of the mind itself. He believed that it was for
the man of letters to record these epiphanies with extreme care, seeing that
they themselves are the most delicate and evanescent of moments. (Chapter XXV)
Joyce, then, at this stage of his
career, regarded epiphanies as inadvertent revelations, as he explained to his
brother Stanislaus, when he noted 'little errors and gestures - mere straws in
the wind - by which people betrayed the very things they were most careful to
conceal.' Epiphany in these instances is revelation, but ironical and possibly
merciless. But he also recognised that the moment of revelation could be lyrical
and radiant.
From 1900 onwards Joyce produced
71 epiphanies, of which 40 have survived in manuscripts at Cornell University
and the University of Buffalo in the United States. These have been reprinted by
Richard Ellmann, A. Walton Litz and John Whittier-Ferguson in James Joyce: Poems
and Shorter Writings (Faber and Faber, 1991). The different kinds are
represented. Some are snap-shots of real life, mini-dramas that encapsulate
banality and vulgarity; in others, elevated thoughts or perceptions occur in
banal surroundings, and are so powerful and so indicative of some higher reality
that they take on the character of mystical vision. Some epiphanies are less
spectacularly revelatory and significant, but they are harmoniously beautiful,
as is this one:
The children who have stayed
latest are getting on their things to go home for the party is over. This is the
last tram. The lank brown horses know it and shake their bells to the clear
night, in admonition. The conductor talks with the driver; both nod often in the
green light of the lamp. There is nobody near. We seem to listen, I on the upper
step and she on the lower. She comes up to my step many times and goes down
again, between our phrases, and once or twice remains beside me, forgetting to
go down, and then goes down .... Let be; let be ... and now she does not urge
her vanities her fine dress and sash and long black stockings - for now (wisdom
of children) we seem to know that this end will please us better than any end we
have laboured for.
This moment reappears in
Stephen Hero (Chapter XVII) and The Portrait of the Artist as a Young Man
(Chapter II). In addition Joyce records some dream epiphanies, which are purely
imaginary.
Epiphanic revelation
Stephen explains in Stephen Hero
that the apprehension of beauty involves the recognition of integrity,
wholeness, symmetry and radiance. Here he comes close to the aesthetics of
Gerard Manley Hopkins and his philosophy of haeccitas ('thisness'). Joyce
demonstrates the way in which the contemplated object is revealed:
Its soul, its whatness, leaps to
us from the vestment of its appearance. The soul of the commonest object, the
structure of which is so adjusted, seems to us radiant. The object achieves its
epiphany.
(Stephen Hero, Chapter XXV)
Joyce is here extending
definitions of beauty to cover areas that most people would not recognise as
such.
When we think of epiphanies we
think, principally, of Joyce. However, although Joyce may have coined this
specific term he is not alone in having epiphanic experiences, nor was he the
first to have them. Indeed, Joyce's word was even anticipated by the American
writer Emerson, who employed it in a lecture of 19 December 1838: 'a fact is an
Epiphany of God and on every fact of his life man should rear a temple of wonder
and joy.'
For centuries writers and mystics
have experienced sudden insights that seem detached from the flow of everyday
perception. In many ways these experiences are the high points of human
experience and the focus of artistic production. Often they have been on a
borderline between the secular and the religious: what has been revealed in the
mystical moment has been a sense of God, of the whole shape of the universe, of
the unity of all created things. Wordsworth describes it as 'A presence that
disturbs me with the joy/Of elevated thoughts; a sense sublime/Of something far
more deeply interfused' (Tintern Abbey lines 93-6).
Sudden light
What was poignant for Wordsworth
was that these mystical moments were often more like flashes of light than a
constant illumination: `gleams like the flashing of a shield' (The Prelude
1.614). The visionary gleam disappeared as quickly as it came, leaving the poet
with the anxious awareness that one day the light might completely fail to come:
'I see by glimpses now; when age comes on,/ May scarcely see at all' (The
Prelude XI.338-9)
Later in the century Dante
Gabriel Rossetti experienced epiphanies which were sudden and unexpected, and on
the borderline of the secular and religious. The classic poem is Sudden
Light:
I have been here before,
But when or how I cannot tell;
I know the grass beyond the door,
The sweet keen smell,
The sighing sound, the lights around the shore.
You have been mine before, -
How long ago I may not know:
But just when at that swallow's soar
Your neck turned so,
Some veil did fall, - I knew it all of yore. (lines 1-10)
'Sudden' is the important word
here - expressing the surprise of the moment. Yeats's poem Suddenly I saw the
cold and rook-delighting heaven is epiphanic and in Vacillation he has an
unexpected moment of vision in the snack bar of 'a crowded London shop':
While on the shop and street I
gazed
My body of a sudden blazed;
And twenty minutes more or less
It seemed, so great my happiness,
That I was blessed and could bless.
This is a less romantic setting
than the blessing scene in Coleridge's Ancient Mariner (lines 282-7), but
none the less powerful for all that. Similarly, in Snow (1anuary 1935)
Louis Macneice speaks of the room as 'suddenly rich' under the impact of a rare
vision:
The room was suddenly rich and
the great bay-window was
Spawning snow and pink roses against it
Soundlessly collateral and incompatible:
World is suddener than we fancy it.
Visionary dreariness
Many of the heightened
experiences recorded by poets have been quasi-religious, and offered inroads
into some meaningful view of the universe, but more often than not the recorded
epiphanies have been more elusive and enigmatic than that indeed, some of
Wordsworth's own experiences were. One of the high points of all Romantic poetry
is in Book XI of The Prelude, (1805 version) in which Wordsworth claims that
when he was 'not six years old' he came upon the name of a murderer, cut in the
turf near a mouldered gibbet. A little while after he encountered:
A girl who bore a pitcher on her
head,
And seemed with difficult steps to force her way
Against the blowing wind. It was, in truth,
An ordinary sight; but I should need
Colours and words that are unknown to man,
To paint the visionary dreariness... (XI. 306-Il)
What is moving and mysterious
about this moment, and the record of it, is that it is revelatory, but we cannot
be precisely sure what it reveals. It demands to be attended to, but we cannot
quite understand why, and neither could Wordsworth, especially when he was on
the moor. This seems to me very typical of what could be called the secular
epiphany: it defies definition and interpretation; it invites scrutiny, yet
remains elusive. The episode on the moor points principally to the fact:
....that the mind
Is lord and master, and that outward sense
Is but the obedient servant of her will.
In other words, the mind seemed
to call this episode into being in the first place, and the memory subsequently
calls it into being too. This, rather than any lurking external meaning provided
by the world outside, is what is significant; the event discloses one of the
'hiding places' of his power. A similar type of epiphany occurs as Wordsworth
enters London in Book VIII of The Prelude, and finds that the threshold
of the city gives him a rapid impression of 'weight and power': 'All that took
place within me came and went/As in a moment' (lines 708-9). He finds it strange
that 'aught external to the living mind/ Should have such mighty sway!.' (lines
701-2). There speaks someone in thrall to 'the egotistic sublime"!
The unattended moment
Often the materials for
epiphanies are, on the face of it, very slight, and sometimes coming together,
as Wordsworth puts it, 'by chance collisions and quaint accidents' (The
Prelude, 1.617). But this is their strength, because if they were more
obviously significant they could become more generally available, and the
delight in epiphanies is that they constantly surprise us, and catch us when we
are not paying attention. We are trapped and arrested by them, they strike us in
unattended moments. The material comes to us from outside.
The epiphany challenges the
received idea and overthrows what one expects to see. That is why it is so
invaluable for the original artist, who lives in dread that he will fall into
idle habits of perception.
Further reading
Bowen, Z. (1 981-2) 'Joyce and
the epiphany concept: a new approach,' Journal of Modern Literature, 9.
Nichols, A. (1987), The
Poetics of Epiphany: Nineteenth-century Origins of the Modern Literary Movement,
University of Alabama Press.
Scholes, R. and Kain, R. M.
(1965) The Workshop of Daedalus: James Joyce and the Raw Materials for 'A
Portrait of the Artist as a Young Man', Northwestern University Press.
Zaehner, R.C. (1 957) Mysticism,
Sacred and Profane, Oxford University Press.
|