Impressions and Comments

There is more in it than that. All such defects of tone and posture (as indeed Dickinson and Truslow realise) have their inevitable reaction on the nervous system: they produce a constant wearing stress, a perpetual liability to pain. The women who have fallen into these habits are inadequate to life, and their inadequacy is felt in all that they are and in all that they attempt to do. Each of them is a stone flung into the social pool to disperse around it an ever-widening circle of disturbance and irritation.

It may be argued that one has seen women—working women especially—whose breasts were firm bowls of beauty, whose buttocks were exquisitely curved, whose bellies would have satisfied the inspired author of The Song of Songs, and yet the women who owned such physical graces have not conspicuously possessed the finer spiritual graces. But we do not enhance one half of human perfection by belittling the other half. And we rarely conceive of any high perfection on one side without some approach to it on the other. Even Jesus—though the whole of his story demands that his visage should be more marred than any man's—is always pictured as beautiful. And do you suppose that the slave girl Blandina would have gone into the arena at Lyons to present her white body as the immortal symbol of the love of Jesus if her breasts had drooped down, and her buttocks swept low, and her abdomen protruded? The human heart is more subtly constructed. Those romantic Christian hagiologists saw to that. And—to come nearer to the point—could her fine tension of soul have been built up on a body as dissolute and weak as a candle in the sun?

We need to-day a great revival of the sense of responsibility, not only in the soul but in the body. We want a new sort of esprit de corps. We need it especially for women, for women, under modern conditions, even less than men, have no use for sagging bodies or sagging souls. It is only by the sanction of nakedness that this can be achieved. "Take this hint from the dancer," a distinguished American dancer has said, "the fewer clothes the better; woman is clumsy because she is overweighted with clothes." With whatever terror we may view any general claim to the right of nakedness, the mere liability to nakedness, the mere freedom to be naked, at once introduces a new motive into life. It becomes a moralising force of the most strenuous urgency. Clothes can no more be put before us as a substitute for the person. The dressmaker can no longer arrogate the functions of a Creator. The way is opened for the appearance in civilisation of a real human race.

January 11.—There seem to be two extreme and opposed styles of writing: the liquid style that flows, and the bronze or marmoreal style that is moulded or carved. Thus there is in English the style of Jeremy Taylor and Newman and Ruskin, and there is the style of Bacon and Landor and Pater, the lyrically-impetuous men and the artistically-deliberate men.

One may even say that a whole language may fall into one or the other of these two groups, according to the temper of the people which created it. There is the Greek tongue, for instance, and there is the Latin tongue. Greek is the embodiment of the fluent speech that runs or soars, the speech of a people which could not help giving winged feet to its god of art. Latin is the embodiment of the weighty and concentrated speech which is hammered and pressed and polished into the shape of its perfection, as the ethically-minded Romans believed that the soul also should be wrought. Virgil said that he licked his poems into shape as a she-bear licks her cubs, and Horace, the other supreme literary artist of Rome, compared the writing of poems to working in bronze. No Greek could have said these things. Whether Plato or Aristophanes or even Thucydides, the Greek's feet touched the earth, touched it lovingly, though it might only be with the pressure of a toe, but there were always wings to his feet, he was always the embodiment of all that he symbolised in Hermes. The speech of the Greek flies, but the speech of the Roman sinks. The Roman's word in art, as in life, was still gravitas, and he contrived to infuse a shade of contempt into the word levis. With the inspired Greek we rise, with the inspired Roman we sink. With the Greek poet, it may be any poet of the Anthology, I am uplifted, I am touched by the breath of rapture. But if it is a Latin poet—Lucretius or Catullus, the quintessential Latin poets—I am hit by something pungent and poignant (they are really the same word, one notes, and that a Latin word) which pierces the flesh and sinks into the heart.

One resents the narrow and defective intelligence of the spirit embodied in Latin, its indifference to Nature, its refusal to hallow the freedom and beauty and gaiety of things, its ever-recurring foretaste of Christianity. But one must not refuse to recognise the superb and eternal morality of that spirit, whether in language or in life. It consecrates struggle, the conquest of brute matter, the perpetual and patient effort after perfection. So Rome is an everlasting challenge to the soul of Man, and the very stones of its city the mightiest of inspirations.

January 13.—An American physician, we are told, paid a visit to the famous dog-kennels on the Vanderbilt estate. He was surprised at the intelligence and gentleness of the animals. "Have you no vicious animals at all?" he asked. And the keeper in surprise answered him: "Do you suppose we would be so foolish as to permit vicious animals to breed?"

Human beings ought surely to be worth more to us than dogs. Yet here in England-and I do not know in what "civilised" country any different order prevails—we gather together all our physical and moral defectives, we bring them into our Workhouses to have babies, under the superintendence of Boards of Guardians, and every one knows that these babies are born in the image of their parents, and will perpetuate the same cycle of misery. Yet, so far as I know, not one of these "Guardians" ever so much as attempts to make clear to those hapless mothers why and how they should avoid having other children. And no one proposes to shut up as dangerous lunatics these precious Guardians of Private Misery and Public Incapacity!

We look down with lofty moral superiority on our ancestors in these islands who were accustomed to eat their fellow-creatures. We do not eat them. We only torture them. That is what we call Progress. At all events we are laying up a bountiful supply of moral superiority for our own descendants. It is not probable that they will be able to read in their newspaper (if newspaper they will still possess) as we can in ours: "At an inquest at Dudley yesterday on a woman who was fatally scalded whilst in a fit, it was stated that she had been an epileptic for years, and that her seven children had all been epileptics, and all had died when young."

January 14.—There are few things that make one so doubtful about the civilising power of England as our indifference to the smoke problem in London. If we were Neapolitan ragamuffins, who could lie in the sun with bare limbs, sucking oranges, there would be nothing to say; under such conditions indolence might be pardonable, almost justified. But we English are feverishly active, we run over the whole world, and we utilise all this energy to build up the biggest and busiest city in the world. Yet we have never created an atmosphere for our great city. Mist is beautiful, with its power of radiant transformation, and London could never, under any circumstances, and need never, be absolutely without mist; it is part of the physical genius of our land, and even perhaps of the spiritual genius of our people. But the black fogs of London are mist soaked with preventable coal smoke; their evils have been recognised from the first. Evelyn protested against this "hellish and dismal cloud of sea-coal," and Charles II. desired Evelyn to prepare a Bill on this nuisance to put before Parliament. But there the matter rested. For three centuries we have been in the position of the Russian gentleman who could not prevent his dilapidated roof from letting in the rain; for, as he pointed out, in wet weather it was quite impossible to effect any repairs, and in dry weather there was really nothing to complain of. In the meanwhile this "cloud of sea-coal" has continued to produce not only actual death and injury in particular cases, but a general diminution of human vitality and the wholesale destruction of plant life. It eats away our most beautiful public buildings; it covers everything and everybody with soot; it is responsible, directly and indirectly, for a financial loss so vast and manifold as to be incalculable.

Yesterday Lord Curzon delivered an address at the Mansion House on the Beautiful London of the Future. He dwelt eloquently on its noble buildings and its long embankments, and its wide streets and its finely placed statues. But of the smoke which nullifies and destroys all these things, not a word! Yet, as he was speaking, outside the Mansion House the people of London were almost feeling their way about, scarce knowing where they were, timidly crawling across motor-infested roads with their hearts in their mouths, all the time permanently ingraining their lungs with black filth. An able man, Lord Curzon, skilful to gauge the British Idealist, ever so absorbed in his own dream of comfort or of cash that he is even blind to the world he lives in, "pinnacled dim in the intense inane" in another sense than the poet intended.

If we were mediaeval monks, who spent our time chanting the rhyme of Bernard of Morlaix, there might seem to be a reason in our madness. To make a Hell of earth is doubtless a useful method of rendering more joyous the transition to Heaven, and less overwhelming the transition to Purgatory. Yet the mediaeval monks burnt no coal and were careful to live in beautiful sites and fine air. The prospect of Purgatory made them epicures in the fine things of Earth. Now we, apparently, care not a snap for any Hereafter. It is therefore a curious psychological problem why we should have chosen to take up our cross in this peculiarly repulsive shape. Apparently our traditions are too strong for us, we cannot dispense with Hell; if robbed of it in the future we must have it Here and Now.

January 15.—When English days are dark and dreary, and the rain falls, and cold winds blow, then it is that memory brings back the full joy of ancient beauty and sunshine. (How could Dante have written "Nessun maggior dolore"! But he had to write of Hell, and Hell were no longer Hell if the lovely memory of Earth still cheered its inmates.) Especially I love to think of that two days' brief journey-the most delightful journey there can be in the world, it sometimes seems—which separates me from Spain. I think of it as it is in early Spring, in the April month, when Browning longed to be in England and most people long to be out of it. I think of the swift passage across the Channel, of the ever-new impression of the light-toned greenery of France and the subtle difference of the beautiful trees, of Paris, of the Quai d'Orsay early next morning, of the mediaeval cities that flash into view on their ancient hills, of the vast stretch of beautiful and varied French land, of Limoges, the last outpost of the Northern French, whom it is sad to leave even when one is bound for Spain, of Rocamadour (and I think of that fantastic old-world shrine, with the legendary blade of Roland's Durandel still struck into its walls, and of the long delicious day on the solitary brooding height over the exquisite ravine), the night at Toulouse at the Hotel Bayard, and the sour bread that marks the Puritanic Southern French, the keen winds and the dreary rain that comes from Provence,—delicious to leave behind. Then Carcassonne and the momentary vision of its turrets, the embodiment of one's dream of the past; lunch at Narbonne with the unfailing cold asparagus of the south, Perpignan, where now at last one is haunted by the fragrance of a city that once was Spanish. Then creeping along by the broken coast, and the rocky creeks up to the outermost edge of the Pyrenees, leaving to the north the ancient path which Pompey and Caesar climbed, and feeling the winds that descend mysteriously from its gorges:

  Le vent qui vient à travers la montagne  Me rendra fou.

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 passed 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 passage 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 à rebours.

So I experience some amusement 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 attitude 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 analysis 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 curât 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 chinks 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 assisting 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 trespassers 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 pronounced 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 God 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 passing of Kant." It may be. But who will talk of the passing of Plato or even of the passing 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 analogy. 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 analogies 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.