Impressions and Comments Part 3

Lo, at once a new Heaven and a new Earth and a new People. A sky that is ever soft and radiant; a land on which strange and fragrant plants flourish, and lakes of crimson poppies glimmer afar; men and women into whose veins seems to have pa.s.sed something of the lazy sunshine of their sky, something of the rich colour of their earth. Then at last the great city of Barcelona, where work and play are mingled as nowhere else so harmoniously in the whole European world; and, beyond, the sacred height of Montserrat; and, beyond that, all the magic of Spain at my feet.

_January_ 19.--"For three days I have observed two large pictures in solid frames hanging on the wall before me, supported by a cord fastened horizontally behind the frames; these pictures have only one point of support, so that they are sensitive to the slightest movement. The wall goes from east to west, or the other way about, it makes no difference.

Now, every morning when I wake, I find these works of art a little askew, the left corner inclined down and the right up!" I came upon that pa.s.sage in _Sylva Sylvarum_, the first book of Strindberg's I ever read, and it pleased me so much that I believe I read no further.

I am reminded of it now when Strindberg's fame has grown so great in England.

It really seems to me that that fantastic image is an excellent symbol of Strindberg himself. For his picture of the world fails to swing concordantly with the world. He has lagged behind in the cosmic rhythm, he has fallen out of the dance of the stars. So that the whole universe is to him an exquisitely keen jar of the nerves, and he hangs awry. That may well make him an extraordinarily interesting person, and, indeed, perhaps he is thereby an index of the world's vital movement, registering it by not moving with it. We have to read Strindberg, but to read him _a rebours_.

So I experience some amus.e.m.e.nt when I see to-day the solemn statement in an American journal which claims--I do not say with no reason--to be portentously clever and superior, that Strindberg is destined to become in America the voice of the masculine reaction in favour of "the corrective influence of a matter-of-fact att.i.tude towards woman." One wonders by what strange fatality Strindberg-the most fantastic genius that ever lived--can appeal to an American as "matter-of-fact." And one wonders why Americans, anyway, should go to this distinguished Swede for such a "corrective,"

when in their own country, to mention but a single name, they have a writer like Robert Herrick, whose novels are surely so admirably subtle and profound an a.n.a.lysis of the position of womanhood in America, and quite reasonably sane. But it is still true, as Jesus sighed two thousand years ago, that a prophet is no prophet in his own country.

_January_ 29.--For supper, we are told, Milton used often to eat a few olives. That statement has frequently recurred to my mind. I never grow weary of the significance of little things. What do the so-called great things of life count for in the end, the fashion of a man's showing-off for the benefit of his fellows? It is the little things that give its savour or its bitterness to life, the little things that direct the currents of activity, the little things that alone really reveal the intimate depths of personality. _De minimis non curat lex_. But against that dictum of human law one may place the Elder Pliny's maxim concerning natural law: _Nusquam magis quam in minimis tota est Natura_. For in the sphere of Nature's Laws it is only the minimal things that are worth caring about, the least things in the world, mere specks on the Walls of Life, as it seems to you. But one sets one's eyes to them, and, behold, they are c.h.i.n.ks that look out into Infinity.

Milton is one of the "great" things in English life and literature, and his admirers dwell on his great achievements. These achievements often leave me a little cold, intellectually acquiescent, nothing more. But when I hear of these olives which the blind old scholar-poet was wont to eat for supper I am at once brought nearer to him. I intuitively divine what they meant to him.

Olives are not the most obvious food for an English Puritan of the seventeenth century, though olive-oil is said to have been used here even in the fourteenth century. Milton might more naturally, one supposes, like his arch-Puritanic foe, Prynne, have "refocillated" his brain with ale and bread, and indeed he was still too English, and perhaps too wise, to disdain either.

But Milton had lived in Italy. There the most brilliant and happy days of his life had been spent. All the rest of his real and inner life was but an echo of the music he had heard in Italy. For Milton was only on one side of his nature the austere Latin secretary of Cromwell and the ferocious opponent of Salmasius. He was also the champion of the tardy English Renaissance, the grave and beautiful youth whose every fibre thrilled to the magic of Italy. For two rich months he had lived in Florence, then the most attractive of Italian cities, with Gaddi, Dati, Coltellini, and the rest for his friends. He had visited Galileo, then just grown blind, as he was himself destined to be. His inner sight always preserved the old visions he had garnered

At evening from the top of Fesole, Or in Valdarno.

Now at last, in the company of sour and ignorant Puritans who counted him one of themselves, while a new generation grew up which ignored him and which he disdained, in this sulphurous atmosphere of London which sickened and drove away his secretary Ellwood, Milton ate a handful of olives. And all Italy came to him in those olives.

"What! when the sun rises do you not see a round disc of fire, somewhat like a guinea?" "Oh no, no, no!" said Blake, "I see an innumerable company of the heavenly host." And these dull green exotic fruits which the blind Milton ate bedwards were the heralds of dreams diviner than he freighted with magnificent verse.

_February_ 3.--"Every well-written novel," I find Remy de Gourmont stating, "seems immoral." A paradox? By no means; Gourmont, the finest of living critics, is not a paradox-monger. He is referring to the prosecution of _Madame Bovary_, a book which Taine said might profitably be used in Sunday Schools; and he points out that Flaubert--and every other profoundly original writer--by avoiding the commonplace phrase, the familiar counter, by deliberately choosing each word, by moulding his language to a personal rhythm, imparts such novelty to his descriptions that the reader seems to himself to be a.s.sisting for the first time at a scene which is yet exactly the same as those described in all novels.

Hence inevitable scandal.

One may very well add that in this matter Life follows the same law as Art. It is the common fate of all creative work (and "non merita nome di Creatore se non Iddio ed il Poeta"). Whoso lives well, as whoso writes well, cannot fail to convey an alarming impression of novelty, precisely because he is in accurate personal adjustment to the facts of his own time. So he is counted immoral and criminal, as Nietzsche delighted to explain. Has not Nietzsche himself been counted, in his own playful phrase, an "immoralist"? Yet the path of life that Nietzsche proposed to follow was just the same ancient, old-fashioned, in the true sense trivial path which all the world has trodden. Only his sensitive feet felt that path so keenly, with such a new grip of the toes on the asperities of it, that the mob cried: Why, this man cannot possibly be on our good old well-worn comfortable highway; he must have set off on some new path, no doubt a very bad and wicked path, where trespa.s.sers must be prosecuted.

And it was just the same venerable path that all humanity has travelled, the path that Adam and Eve scuttled over, in hairy nakedness, through the jungle of the Garden of Eden!

That is one of the reasons--and there are many of them--why the social ideal of Herbert Spencer, in which the adjustment of life is so perfect that friction is impossible, can never be attained. Putting aside the question of the desirability of such an ideal it is impossible to see how it could be achieved, either along the line of working at Heredity, or along the line of working at the Environment. Even the most keenly intellectual people that ever existed, the most amorous of novelty, the most supple-minded, could not permit Socrates to live, though all the time Socrates was going their own way, his feet pressing the same path; they still could not understand his prosaic way of looking intently where his feet fell. It must always happen so, and it always means conflict. Even a flower cannot burst into bloom without conflict, the balance of forces can never be quite equal and opposite, there must be a breaking down somewhere, there must always be conflict. We may regulate and harmonise the conditions, we cannot abolish the conflict. For Conflict is implicit in Life.

_February_ 5.--I note that Charles Dudley Warner (that splendid type of American man as I recall him in old age, pacing up and down my room, pondering out some serious problem of life), when half a century ago he came over to London for the first time on a visit from Paris, was struck by the contrast between the light luminosity of one city and the prevailing gloomy dirt of the other. The contrast may not be so p.r.o.nounced to-day. Yet that same dirt--which has its beautiful side no doubt--remains the note of London, brown dirt all over the streets, black dirt all over the buildings, yellow dirt all over the sky, and those who live in it become subdued to what they live in, "like the dyer's hand," even literally.

So the sight of the Cornish coast, the prospect of seeing it, the very thought of its existence, has the exhilaration of a rapturous prayer.

There--sometimes, at all events--the earth is exquisitely clean, the bright sea bubbles like champagne, and its mere mists are rainbow-hued dreams; the sky has flung off its dingy robe and is naked, beautiful, alive. Profoundly alien to me as I always feel this land of Cornwall to be, it is much to feel there something of that elemental reality of which men count G.o.d the symbol. Here the city-stained soul may become the sacramental agent of a Divine Transubstantiation of the elements of earth, of air, of water, of fire.

_February_ 8.--It was a fine and deep saying of Aristotle's that "the greatest thing by far is to be a master of metaphor." That is the mark of genius, for, said he, it implies an intuitive perception of the similarity in dissimilars.

All the great thinkers have been masters of metaphor, because all vivid thinking must be in images, and the philosopher whose metaphors are blurred or diluted is one whose thinking is blurred and diluted. Thus it comes about that the thinkers who survive are the thinkers who wrote well and are most nearly poets. Not that they need have attained to that which we, individually or collectively, may be pleased to consider "Truth." But they were alive; they had realised what they meant; they embodied their thoughts in definite images which are a perpetual challenge to thought for all who come after. One may agree or disagree with Schopenhauer or with Nietzsche. But they were vitally and intensely alive; they transformed their thought into wonderful imagery; or they sang it and they danced it; and they are alive for ever. People talk of "the pa.s.sing of Kant." It may be. But who will talk of the pa.s.sing of Plato or even of the pa.s.sing of Hobbes? No thinker has been so buffeted as Hobbes, and there is no school to accept his central thesis. It is no matter. Hobbes flung aside all the armour of tradition and met the giant problem that faced him with his own sling and any stones out of the brook. It was enough to make him immortal.

His achievement has receded into the past. The _Leviathan_ is now an ancient tapestry which generations of street urchins have thrown mud at; and yet it remains radiantly beautiful.

All great thinkers are great masters of metaphor because all thinking of any kind must be by a.n.a.logy. It may often be a misleading guide, but it remains the only guide. To say that thinking is by metaphor is merely the same thing as to say that the world is an infinite series of a.n.a.logies enclosed one within another in a succession of Chinese boxes. Even the crowd recognises this. The story that Newton first saw the gravitation of the earth in the fall of an apple in the orchard, which Voltaire has transmitted to us from a fairly good source, has no first-hand authority.

But the crowd has always accepted it as a gospel truth, and by a sound instinct. The Milky Way itself is pictured by its latest investigators as a vague spiral scarcely to be distinguished from the ascending smoke of a cigarette.

_February_ 10.--A French soprano, and it is the first time she has sung on an English platform. She walks on slowly and stands statuesquely motionless while the preliminary bars are being played. One notes her elegant Parisian costume, clinging and very low-cut, every detail of her appearance carefully thought out, const.i.tuting a harmony in itself, though not perhaps a harmony with this negligent Sunday afternoon environment in which the singer finds herself. Her voice is finely trained and under complete control, she enters into the spirit of the operatic scene she sings, dramatically, yet with restraint, with modulated movements, now of her arms, now of her whole supple body. In her voice, as in her body, there is always a reserve of energy, a dignified self-respect; there is never any self-abandonment. She has sung first in French, now she comes on in an Italian air, and afterwards is not too coyly reticent in taking an encore which is in English, to a piano accompaniment, and when that is over she hastens to bring the accompanist by the hand to her side before the audience, and bows, sweetly and graciously, with a gesture of the whole body, yet again with a certain reserve, not, as one may see some great singers, symbolically clasping her arms round the public and kissing it with humble grat.i.tude. She is a complete success with her audience.

Yet she is really, one divines, a fairly commonplace person. And she is not beautiful. And even her voice has no marvellous original quality. She has on her side a certain quality of nervous texture to mould artistically, but that is not a personal possession but merely a quality of her race. She has laboriously wrought this ductile nervous tissue to her own ends. By force of long training, discipline, art, she has made herself what she desired to be. She has become all that she had in her to be. She has given to the world all that the world has any right to ask of her.

That is all. But this training and this discipline, the ability to be oneself and to impart graciously to others the utmost that they have any right to demand--is not that the whole Art of Living and the entire Code of Morality?

_February_ 15.--"There is no Excellent Beauty that hath not some Strangeness in the Proportion." That saying of Bacon's--one of the profoundest of human utterances--is significant not only for all life but for all art. In the sphere of literature, for instance, it makes impossible the use of counters.

The counter or the _cliche_--no doubt it is better known for what it is to good French writers--is the word or the phrase which has lost the original contour of its mintage and become a mere featureless coin, having still, as it were, its metallic meaning but no longer its fresh beauty and expressiveness. The young novelist whose hero "wends his way," and the journalist for whom a party of fifteen persons may be "literally decimated," are both adepts in the use of the counter. They use ancient worn words, such as leap first into the mind, words which are too effaced to be beautiful, and sometimes too effaced to be accurate. They are just counters for careless writers to pa.s.s on to careless readers, and not always reliable as counters.

We are all of us using these counters; they are convenient for the ordinary purposes of life, whenever the search for beauty and rarity and expressiveness may seem uncalled for. Even the master of style uses them unquestioned, so long as he uses them consciously, deliberately, of set purpose, with a sense of their just value for his purpose. When they are used, as sometimes happens, heedlessly and helplessly, by writers who are dealing with beautiful and expressive things, they become jarring vulgarisms which set the teeth on edge. Even a poet of real inspiration, like Francis Thompson, may seek to carry, "hiddenly," as he would express it, beneath the cloak of his rapture, all sorts of absurd archaisms, awkwardly conventional inversions, hideous neologisms like false antiques, all mere counters. A born writer with a personal instinct for expression, like Arthur Symons, is not apt to resort to the use of counters, even when he is seemingly careless; a carefully trained artist in the use of words, like Stevenson, evidently rejects counters immediately; the man who is not a writer, born or made, sometimes uses nothing but counters.

A casual acquaintance once presented to me an epic he had written in rhymed couplets, extending to many cantos. He was a man of bright and vigorous mind, but no poet. So when he set himself to write verse it is clear that he instinctively tested every word or phrase, and rejected those that failed to sound smooth, familiar, "poetic," to his reminiscent ear. The result is that the whole of his book is made up of counters, and every epithet is studiously obvious. The hero is "dauntless," and his "steed" is "n.o.ble," and the sky at night is a "spangled vault," and "spicy perfumes load the balmy air." It is thirty years since that epic was placed in my hands, and I have often since had occasion to think that it might profitably be used by any teacher of English literature as a text for an ever needed lesson on the counter. "There is no Excellent Beauty that hath not some Strangeness in the Proportion." Or, as Aristotle had said long before, there must be "a certain admixture of unfamiliarity," a continual slight novelty.

That is the Law of Beauty in Art because it is the Law of Morality in Life. Our acts so easily become defaced and conventionalised, mere uniform counters that have been used a thousand times before and rarely with any special applicability--often, indeed, a flagrant inapplicability--to the case in hand. The demand upon us in Life is to fling away counters, to react vitally to the vital circ.u.mstances of the situation. All the teachers of Excellent Beauty in the Moral Life bear witness to the truth of Bacon's saying. Look at the Sermon on the Mount: no doubt about the "Strangeness in the Proportion" there! Socrates and Jesus, unlike as they were, so far as we are able to discern, were yet both marked by the same horror of counters. Sooner than employ them they would die. And indeed, if the Moral Life could be reduced to the simplicity of a slot-machine, it would still be necessary to put real pennies in.

_February_ 23.--Some time ago a navvy working in Suss.e.x came upon a round object like a cocoa-nut which he flung carelessly out of the way. It would soon have disappeared for ever. But by an almost miraculous chance a man of science pa.s.sed that way and secured the object, easily discernible as a portion of a human skull. Now that, with all that appertains to it, the fragment has been investigated, the Suss.e.x navvy's unconscious find is revealed as perhaps the most precious and interesting thing that has ever been discovered in the earth, the earliest Charter in the History of Man.

Whenever I read of the chance discovery of fossils or human remains, of buried cities in Yucatan or Roman pavements beneath Gloucestershire meadows, or beautiful statues fished out of the Tiber, or mediaeval treasures dug from below old castles, it grows an ever greater wonder to me that no one has yet proposed a systematic exploration of the whole earth beneath our feet. Here is this earth, a marvellous onion, a series of encapsuled worlds, each successive foliation preserving the intimate secrets of its own irrecoverable life. And Man the Baby, neglecting the wonderful Earth he crawls on, has cried for the barren Moon! All science has begun with the stars, and Early Man seemed to himself merely the by-play of a great cosmic process. G.o.d was first, and Man who had created Him--out of less than dust--was nowhere. Even in mediaeval days we knew much more about Heaven and h.e.l.l than about Earth. The Earth comes last into man's view,--even after Heaven and h.e.l.l and Purgatory,--but it will surely be a puzzle for our successors that after a million years, even in our present little era, we had still not begun to scratch up systematically the soil we stand on and could scarcely so much as uncover Pompeii. For though the under-world is not all a buried Pompeii, it is a vast treasure-house. One cannot so much as put a spade into the garden-mould of one's cottage-garden without now and then finding ancient coins and shards of strange pottery; and for all that you know, the clue to some mystery that has puzzled mankind for ages may at this moment lie a few inches below your feet.

It would be the task of an International Exfodiation Commission to dig up the whole earth systematically, leaving no inch of it untouched except on definitely determined grounds, the depth explored in each region being duly determined by experts. One might make a beginning with the banks of the Nile where the task is comparatively easy, and Nature has packed such fragile treasures in such antiseptic sand. Italy with its soil laden with marvellous things could be investigated at the same time, with all the sh.o.r.es of the Mediterranean. The work would take many centuries to complete and would cost vast sums of money. But when the nations are no longer engaged in the task of building warships which are obsolete a few weeks after they are launched, if not before, how vast a sum of money will be saved! The money which is wasted on the armies and navies of Europe alone during a single century would furnish a very respectable credit for the International Exfodiation Commission to begin work with. At the same time the men now employed in laboriously learning the trade of war, which they are seldom or never called upon to exercise, could be given something useful to do. In the meanwhile Exfodiation must wait until what an old English writer called "the essential oil of democracy" is poured over the stormy waves of human society. You doubt whether that oil will calm the waves? But if your essential oil of democracy fails to possess that elementary property of oil it is hardly worth while to manufacture it.

Once achieved, whenever or however it is achieved, the task will be achieved for ever. It would be the greatest task man has ever attempted, and the most inspiring. He would for the first time become fully conscious of himself. He would know all that he once was, and all that he has ever accomplished so far as its record survives. He would read clearly in the earth for the first time the t.i.tle-deeds that make him the owner of the world. All that is involved is Exfodiation.

I call this process Exfodiation, because if our descendants happen to be at all like us they would much rather Exfodiate than Dig. As for us, we dare not so much as call our bodily organs and functions by their beautifully common names, and to Dig we are even more ashamed than to Beg.

_March_ 3.--Some one was telling me yesterday how lately in Wales he stood in a wood by a little stream that ran swiftly over the stones, babbling and chattering--the poets have wisely said--as children babble and chatter. "It is certainly the stream," he said to himself; "no, it must be children; no, it is the stream." And then a band of careless children, whose voices had mingled with the brook's voice, emerged from amidst the wood.

Children are more than murmuring streams, and women are more than fragrant flowers, and men are more than walking trees. But on one side they are all part of the vision and music of Nature, not merely the creators of pictures and melodies, but even yet more fundamentally themselves the music and the vision. We cannot too often remember that not only is the art of man an art that Nature makes, but that Man himself is Nature.

Accordingly as we cherish that faith, and seek to live by it, we vindicate our right to the Earth, and preserve our sane and vital relations to the Earth's life. The poets love to see human emotions in the procession of cosmic phenomena. But we have also to see the force of the sun and the dust of the earth in the dance of the blood through the veins of Man.

Civilisation and Morals may seem to hold us apart from Nature. Yet the world has, even literally, been set in our hearts. We are of the Stuff of the Universe. In comparison with that fact Morals and Civilisation sink into Nothingness.

_March_ 7.--So fine a critic of art as Remy de Gourmont finds it difficult, to his own regret, to admire Shakespeare on the stage, at all events in France in French translations. This is not, he says, what in France is counted great dramatic art; there is no beginning and there is no real end, except such as may be due to the slaughter of the characters; throughout it is possible to interpolate scenes or to subtract scenes. He is referring more especially to _Macbeth_.

It cannot be denied that there is truth in this plaint. In France, from a French standpoint,--or, for the matter of that, from a Greek standpoint,--Shakespeare must always be a barbarian. It is the same feeling--though not indeed in so great a degree--that one experiences when one looks at the picturesque disorder and irregularity of English Gothic churches from the standpoint of the severely ordered majesty of Chartres, or even of Amiens, which yet has so much about it that recalls its neighbourhood to England. From the right standpoint, however, English Gothic architecture is full of charm, and even of art. In the same way I cannot at all admit that Shakespeare is unsuited for the stage. One has only to remember that it is the Romantic not the Cla.s.sic stage. It is the function of the Shakespearian drama, and of the whole school of which Shakespeare is the supreme representative (I put aside Marlowe who died in the making of a greater cla.s.sic tradition), to evoke a variegated vision of the tragi-comedy of life in its height and its depth, its freedom, and its wide horizon. This drama has for the most part little to do with the operation of the Fate which works itself out when a man's soul is in the stern clutch of Necessity. We are far here from Euripides and from Ibsen.

Life is always a pageant here, a tragi-comedy, which may lean sometimes more to comedy, and sometimes more to tragedy, but has in it always, even in _Lear_, an atmosphere of enlarging and exhilarating gaiety.

Shakespeare is for the stage. But what stage? We were cut off for ever from the Shakesperian tradition in the very generation after Shakespeare died, and have not acquired a sound new tradition even yet. The device of subst.i.tuting drapery for scenery and relying exclusively on the gorgeous flow of words for decorative purposes fails to satisfy us, and we fall back on the foolish trick of submerging Shakespeare in upholstery and limelight.

It seems to me that we may discern the beginning of a more rational tradition in Granville Barker's staging of _Twelfth Night_ at the Savoy.

There is something here of the romantic suggestion and the easy freedom which are of the essence of the Shakesperian drama. The creamy walls, possibly an approximation to the courtyard-like theatre of the Elizabethans, are a perfect background for the play of brilliant figures; the light curtains furnish precisely the desired suggestion of scenery; and when at last all the figures wander up the stairway in the background as the Fool sings his inconsequent song, "With hey ho the wind and the rain," the whole gracious dream melts away deliriously, as it seemed to Prospero, and surely to Shakespeare himself, the dream of life in the end melts away in the wind or the rain of the grave.