[9] I would submit in all humility that this applies in the rendering of ancient texts. The poet in dealing with his own time, must also see to it that language does not petrify on his hands. He must prepare for new advances along the lines of true metaphor that is interpretative metaphor, or image, as diametrically opposed to untrue, or ornamental metaphor.—E.P.
[10] These precautions should be broadly conceived. It is not so much their letter, as the underlying feeling of objectification and activity, that matters.—E.P.
[11] Compare Dante's definition of "rectitudo" as the direction of the will, probably taken from Aquinas.—E.P.
[12] Professor Fenollosa is well borne out by chance evidence. The vorticist sculptor Gaudier-Brzeska sat in my room before he went off to the war. He was able to read the Chinese radicals and many compound signs almost at pleasure. He was of course, used to consider all life and nature in the terms of planes and of bounding lines. Nevertheless he had spent only a fortnight in the museum studying the Chinese characters. He was amazed at the stupidity of lexicographers who could not discern for all their learning the pictorial values which were to him perfectly obvious and apparent. Curiously enough, a few weeks later Edmond Dulac, who is of a totally different tradition, sat here, giving an impromptu panegyric on the elements of Chinese art, on the units of composition, drawn from the written characters. He did not use Professor Fenollosa's own words, he said "bamboo" instead of "rice". He said the essence of the bamboo is in a certain way it grows, they have this in their sign for bamboo, all designs of bamboo proceed from it. Then he went on rather to disparage vorticism, on the grounds that it could not hope to do for the Occident, in one life-time, what had required centuries of development in China.—E.P.