Was there pain before there was a world? Was the world brought forth in pain? Yes, I am sure of this, I am convinced that it is so. What knowledge can there be of this? As these words come on to the paper by way of what goes by the name of Pilgermann I note that theoretical science has worked its way back deductively to the very first moments of the universe and the bursting forth of everything from the time-space singularity which had contained it just before that moment. All of this is imprinted on the waves and particles of me, it is in the mystical black letters that rise above all flames, it is the Word that is at once the birth-scream and the death-cry of the cosmic animal that is God, the It that is both creator and created. How should there not be pain? One has only to listen to music run backwards to sense the reversing cycles of consummation and creation, the continual ordering and reordering of the disturbance that is the endless idea that continually thinks itself into and out of the manyness of its being.
It is not from the loss of Sophia, the loss of Christ and the loss of God as He that the pain comes, no. It is from the pain that God comes, that Christ with his lion-eyes comes, that Sophia in all her beauty, her splendour, and her passion comes. It is from the cosmic intolerable of the nothing-in-everything alternating with the everything-in-nothing that all things come. This great pain, this ur-pain, swims its monstrous bulk in deeps far down, down, down below that agony of loss in which I grind my teeth remembering the golden bell of Sophia’s nakedness and the sharpness of the knife of joy.
Knife of joy. At this thought almost do the waves and particles of me laugh. Perhaps this almost-laugh is seen somewhere as the shaking of a leaf in the evening wind, the shaking of a leaf seen in the light of a street lamp under a humpbacked moon in a modern place where the few trees speak to the dry stone. ‘Knife of joy,’ I said, and immediately there came to mind the knife of unjoy, the knife that drew the line for me. Now of course I know what I did not know then: I know that the pain waits in the joy as the dragonfly waits in the nymph. Almost I sense that the joy, as the nymph to the dragonfly, is a necessary stage in the development of the pain.
With my dead colleagues I was on the road to Jerusalem: with the sow Bodwild and her peasant master Konrad; with the bear shot full of arrows by his worshipper; with Udo the relic-gatherer; with the tax-collector the husband of Sophia, and with us was Bruder Pförtner in his appearances and his disappearances. And now I became aware of perhaps someone else, it was only the faintest light and shadow as it were sketched on the air, a ghostly chiaroscuro walking familiarly with the rest of us as if by right. This sketchy figure was in truth familiar, uncertain of feature as it was: it was immediately recognizable to me as an early state of my death. I felt drawn to it as a father to a son. This simulacrum was in no way childlike, it was a fully-grown duplicate of me but not yet fully defined, not yet fully realized, and therefore it was to me as a child to be looked after.
Child! Looking at my immature death, feeling protective towards it as if it were my son, I found myself thinking: What if Sophia and I have made a child! What if in her womb is growing new life from our sin, our adultery, our triumph! I laughed aloud as this thought leapt up in me. I looked sidewise at the tax-collector, my brother in Sophia. ‘In her month they shall find her,’ I said.
Strange, talking to a headless dead man. No face to look at, but from somewhere he was staring at me hard. ‘Judgment Day,’ he said. ‘You spoke of it just a little while ago. You must know in your heart, as I knew in my heart while I was alive, that the Day of Judgment is the only day there is. In our mortal life we play at dividing this one everlasting day into many tiny days and we say, “Tomorrow I shall perhaps do better.” But there is only this one day in which we live our whole lives and from which we fade as consciousness fades. It is where I am now but in a little while I shall fade out of it and be gone while you for as long as you live must remain in it.’
‘Is that why you told those peasants to let me live?’ I said. ‘So that I could suffer it continually?’
‘I told them to let you live because I felt myself judged in that moment when I looked down at you lying in your blood and vomit,’ he said.
We said nothing more. Bruder Pförtner was with us again, he was walking close beside my young death and fondling it from time to time.
Walking the road to Jerusalem I find myself weeping. This is because my mind has shown me a connexion that it was just beginning to perceive when I was leaning against the tree in the little dark wood after I killed Udo the relic-gatherer. It was then that there came into my mind the great dome that I had never seen, the dome of Hagia Sophia in Constantinople. Ah! now as I walk I know that there is no separateness in the world, I know that the souls of things and the souls of people are inextricably commingled; I know that the dome and the woman both are manifestations of something elemental that is both beauty and wisdom and it is for ever in danger, for ever being lost, torn out of our hands, violated. It is impossible to keep it safe. That heaven shapen by human hands, that blue dome hung with lights and lustres, starred with flames and dim with incense, that spirit-bowl, that God-mother and Mother Goddess, that Wisdom of stone and gold, how should it not be violated, how should rough hands not be laid upon it, how should the holy silence not be broken by the thudding of hooves, how should war horses not be ridden up to that altar, how should the altar not be smashed? Altars are made for smashing. That thing in us that waits to jump up and smash, it stands looking over our shoulder as we build the altar. It rages, it smiles, it laughs deep in its belly, it dances on cloven hooves at the consecration of the altar, it looks ahead to the time of the smashing. More, more is there in this: that of which the dome is a visible aspect, the great Wisdom, golden Wisdom itself, is the mother of both the altar and the thing that smashes the altar. The Wisdom in its wisdom thus provides that beauty and wisdom shall never be within our grasp, shall only be a light upon our eyes and passing.
Passing, passing! Echah! O how! O how is the beauty passing, how is it departed, gone, gone! It is gone because the Wisdom in its wisdom has ordained that beauty is that which passes, it is that which will not stay; beauty is a continual departing, a continual going away. Sophia is one with the dome in my mind that arches over me like the Egyptian sky goddess arching over her earth-god brother who penetrates her and must be separated from her.
In the making of Sophia’s beauty was the violation of it by separation, by departure, by shouts of impiety under the great dome of it, by the castration of its consort and the beheading of its protector. The great dome echoes with the clatter and the clamour of the horsemen, with the smashing of the altar, the tearing of the silken hangings. Listen, listen to the trampling of impious feet on sacred books, listen to this trampling that is the most constant road in history, the trampling of murderous feet on sacred books. In the writing, in the copying, in the binding of the books, in the very ink and paper, in the blood and bones of the original writer and in the blood and bones of every copyist thereafter lives coevally the trampler and the burner of the books of God and the God of books, lives the trampler and the burner of books and people, of beauty and domes.