Impressions and Comments

by Havelock Ellis

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.

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, constituting 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 gratitude. 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 cliché—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 pass on to careless readers, and not always reliable as counters.