'His Rising and His Fading Is Most Beautiful'

A librarian friend and I were talking about the similarities between library cataloguing and taxonomy in biology – the art of classification – and the sort of people such specialized disciplines attract. Formerly a piano teacher, she was attracted to library science by way of cataloging and loving books. It’s less formulaic than I would have assumed. There’s an art to it, even a creative aspect, that goes beyond author/title/subject in the catalog. The goal is to aid the reader as much as possible in locating what he wants. 

Until ninth grade I planned to become a biologist. That year’s biology teacher, a bitter, unimaginative man with a crew cut and a pencil neck, changed all that. What I especially enjoyed was binomial nomenclature, the naming practice devised by Carl Linnaeus, the great eighteenth-century Swedish biologist. Binomial: Genus, species – the Latin name; for example, Homo sapiens. The idea that every life form could be named to distinguish it from every other appealed to me. So did the notion that all organisms are related, that you could literally devise a family tree, an effort which always reminds me of Borges’ Library of Babel.

 

The librarian and I agreed that classification, in this sense, is useful (and somehow comforting) but it also invites hubris. Any attempt to collect and systemize knowledge – a dictionary or encyclopedia, the Human Genome Project – has a comically presumptuous aspect. Biologists are forever revising categories, distinguishing sub-species from species. We’ve learned so much and know so little. Accumulating knowledge and attempting to draw lessons from it is a handy metaphor for our state. The English poet Stevie Smith, in a September 1937 letter to the novelist and journalist Helen Mitchison, writes: “I don’t think we can pass the buck to forces of evil or to anything but our own humanity. We are bloody fools—but then, we are hardly out of the egg shell yet.”

 

Every human accomplishment is shadowed by its opposite. We solve one problem and it turns into another. According to the editors of Me Again: Uncollected Writings of Stevie Smith (1982), Mitchison had previously written Smith “‘a gloomy letter’ about the world situation.” During that autumn,  Hitler was in his ascendancy and rapidly rearming Germany, Stalin’s Great Terror was accelerating, the Second Sino-Japanese War was well under way and Spain was self-destructing. Smith, whose first and best novel, Novel on Yellow Paper, had recently been published, urges Mitchison to keep her cool:

 

“I think we want to keep a tight hand—each of us on our own thoughts. I think at the present moment you are in a state of mind that hungers for the disasters it fears. If there are forces of evil, you see, you are siding with them, in allowing your thoughts to panic. Your mind is your only province—the only thing that is.”

 

Around the time of Smith’s letter to Mitchison she wrote “Beautiful”:

 

“Man thinks he was not born to die

But that’s no proof he wasn’t,

And those who would not have it so

Are very glad it isn’t.

 

“Why should man wish to live for ever?

 

His term is merciful,

He riseth like a beaming plant

And fades most beautiful,

 

“And his rising and his fading

Is most beautiful.

 

“Not, not the one without the other,

But always the two together,

Rising fading, fading rising,

It is really not surprising

To find this beautiful.”

 

Smith died on this date, March 7, in 1971 at age sixty-nine.