JULY 13th
The slum novelist gains his effects by describing the same grey mist as draping the dingy factory and the dingy tavern. But to the man he is supposed to be studying there must be exactly the same difference between the factory and the tavern that there is to a middle-class man between a late night at the office and a supper at Pagani's.
'Heretics.'
JULY 14th
THE FALL OF THE BASTILLE
The destruction of the Bastille was not a reform: it was something more important than a reform. It was an iconoclasm; it was the breaking of a stone image. The people saw the building like a giant looking at them with a score of eyes, and they struck at it as at a carved face. For of all the shapes in which that immense illusion called Materialism can terrify the soul, perhaps the most oppressive is that of the big building. Man feels like a fly, an accident in the thing he has himself made. It requires a violent effort of the spirit to remember that man made this confounding thing and man could unmake it. Therefore the mere act of the ragged people in the street taking and destroying a huge public building has a spiritual, and a ritual, meaning far beyond its immediate political results. It is a religious service. If, for instance, the Socialists were numerous or courageous enough to capture and smash up the Bank of England you might argue for ever about the inutility of the act, and how it really did not touch the root of the economic problem in the correct manner. But mankind would never forget it. It would change the world.
'Tremendous Trifles.'
JULY 15th
ST. SWITHIN'S DAY
Only in our romantic country do you have the romantic thing called weather—beautiful and changeable as a woman. The great English landscape painters (neglected now, like everything that is English) have this salient distinction, that the weather is not the atmosphere of their pictures: it is the subject of their pictures. They paint portraits of the weather. The weather sat to Constable; the weather posed for Turner—and the deuce of a pose it was. In the English painters the climate is the hero; in the case of Turner a swaggering and fighting hero, melodramatic but magnificent. The tall and terrible protagonist robed in rain, thunder, and sunlight, fills the whole canvas and the whole foreground. Rich colours actually look more luminous on a grey day, because they are seen against a dark background, and seem to be burning with a lustre of their own. Against a dim sky all flowers look like fireworks. There is something strange about them at once vivid and secret, like flowers traced in fire in the grim garden of a witch. A bright blue sky is necessarily the high light in the picture, and its brightness kills all the bright blue flowers. But on a grey day the larkspur looks like fallen heaven; the red daisies are really the lost-red eyes of day, and the sun-flower is the vice-regent of the sun. Lastly, there is this value about the colour that men call colourless: that it suggests in some way the mixed and troubled average of existence, especially in its quality of strife and expectation and promise. Grey is a colour that always seems on the eve of changing to some other colour; of brightening into blue, or blanching into white or breaking into green or gold. So we may be perpetually reminded of the indefinite hope that is in doubt itself; and when there is grey weather on our hills or grey hair on our heads perhaps they may still remind us of the morning.