Alice Meynell

“ Thick soil below and thick growth above cover up all the bones of the land, which in more delicate countries show brows and hollows resembling those of a fine face after mental experience. By a very intelligible paradox, it is only in a landscape made up for beauty that beauty is so ill achieved. Much beauty there must needs be where there are vegetation and the seasons. But even the seasons, in park scenery, are marred by the little too much: too complete a winter, too emphatic a spring, an ostentatious summer, an autumn too demonstrative. ”

“ Life seems so long, and its capacity so great, to one who knows nothing of all the intervals it needs must hold—intervals between aspirations, between actions, pauses as inevitable as the pauses of sleep. And life looks impossible to the young unfortunate, unaware of the inevitable and unfailing refreshment. It would be for their peace to learn that there is a tide in the affairs of men, in a sense more subtle—if it is not too audacious to add a meaning to Shakespeare—than the phrase was meant to contain. Their joy is flying away from them on its way home ”

“ It is mortal pathos. If any other poet has filled a cup with a draught so unalloyed, we do not know it. Love and sorrow are pure in The Unknown Eros; and its author has not refused even the cup of terror. Against love often, against sorrow nearly always, against fear always, men of sensibility instantaneously guard the quick of their hearts. It is only the approach of the pang that they will endure; from the pang itself, dividing soul and spirit, a man who is conscious of a profound capacity for passion defends himself in the twinkling of an eye. ”

“ Bright as it is, the glow is rather the dye of sunlight than its luminosity. For by a kind of paradox the luminous landscape is that which is full of shadows—the landscape before you when you turn and face the sun. Not only every reed and rush of the salt marshes, every uncertain aspen-leaf of the few trees, but every particle of the October air shows a shadow and makes a mystery of the light. There is nothing but shadow and sun; colour is absorbed and the landscape is reduced to a shining simplicity. ”

“ Unluckily for him, words are not style, phrases are not style. ‘The man is style.’ O good French language, cunning and good, that lets me read the sentence in obverse or converse as I will! And I read it as declaring that the whole man, the very whole of him, is his style. The literature of a man of letters worthy the name is rooted in all his qualities, with little fibres running invisibly into the smallest qualities he has. He who is not a man of letters, simply is not one; it is not too audacious a paradox to affirm that doing will not avail him who fails in being. ”

“ He seems to affirm that Nature is less proportionate to man than is architecture; that the house is built and the sofa is made measurable by the unit measure of the body; but that the landscape is set to some other scale. ‘I prefer houses to the open air. In a house we all feel of the proper proportions. Egotism itself, which is so necessary to a proper sense of human dignity, is absolutely the result of indoor life.’ Nevertheless, before it is too late, let me assert that though nature is not always clearly and obviously made to man’s measure, he is yet the unit by which she is measurable. ”

“ Transcendent simplicity could not possibly be habitual. Man lives within garments and veils, and art is chiefly concerned with making mysteries of these for the loveliness of his life; when they are rent asunder it is impossible not to be aware that an overwhelming human emotion has been in action. Thus Departure, If I were Dead, A Farewell, Eurydice, The Toys, St. Valentine’s Day—though here there is in the exquisite imaginative play a mitigation of the bare vitality of feeling—group themselves apart as the innermost of the poet’s achievements. ”

“ The landscape, like our literature, is apt to grow and to get itself formed under too luxurious ideals. This is the evil work of that little more which makes its insensible but persistent additions to styles, to the arts, to the ornaments of life—to nature, when unluckily man becomes too explicitly conscious of her beauty, and too deliberate in his arrangement of it. The landscape has need of moderation, of that fast-disappearing grace of unconsciousness, and, in short, of a return towards the ascetic temper. ”

“ Is not Shakespeare, for this reason, our refuge? Fortunately unreal is his world when he will have it so; and there we may laugh with open heart at a grotesque man: without misgiving, without remorse, without reluctance. If great creating Nature has not assumed for herself she has assuredly secured to the great creating poet the right of partiality, of limitation, of setting aside and leaving out, of taking one impression and one emotion as sufficient for the day. Art and Nature are separate, complementary; in relation, not in confusion, with one another. ”

“ Shakespeare, indeed, having seen a life whole, sees it to an end: sees it out, and Falstaff dies. More than Promethean was the audacity that, having kindled, quenched that spark. But otherwise the grotesque man in literature is immortal, and with something more significant than the immortality awarded to him in the sayings of rhetoric; he is predurable because he is not completed. His humours are strangely matched with perpetuity. But, indeed, he is not worthy to die; for there is something graver than to be immortal, and that is to be mortal. ”

“ All this fine chromatic scale passes within such modest boundaries that it is accused as a monotony. But those who find its modesty delightful may have a still more delicate pleasure in the blooming and blossoming of the sea. The passing from the winter blue to the summer blue, from the cold colour to the colour that has in it the fire of the sun, the kindling of the sapphire of the Mediterranean—the significance of these sea-seasons, so far from the pasture and the harvest, is imperceptible to ordinary senses, as appears from the fact that so few stay to see it all fulfilled. ”

“ By an actual Bottom the Weaver our pity might be reached for the sake of his single self-reliance, his fancy and resource condemned to burlesque and ignominy by the niggard doom of circumstance. But is not life one thing and is not art another? Is it not the privilege of literature to make selection and to treat things singly, without the after-thoughts of life, without the troublous completeness of the many-sided world? ”

“ Louis Blanc’s ‘point of honour of industry’ is a conscious impulse—it is not too much to say—with most of the Tuscan contadini; but as each effort they make for their master they make also for the bread of their children, it is no wonder that the land they cultivate has a look of life. But in all colour, in all luxury, and in all that gives material for picturesque English, this lovely scenery for food and wine and raiment has that little less to which we desire to recall a rhetorical world. ”

“ Because Impressionism is so free, therefore is it doubly bound. Because there is none to arraign it, it is a thousand times responsible. To undertake this art for the sake of its privileges without confessing its obligations—or at least without confessing them up to the point of honour—is to take a vulgar freedom: to see immunities precisely where there are duties, and an advantage where there is a bond. A very mob of men have taken Impressionism upon themselves in this our later day. It is against all probabilities that more than a few among these have within them the point of honour. ”

“ Abject domesticity, ignominies of married life, of middle-age, of money-making; the old common jape against the mother-in-law; ill-dressed men with whisky—ill-dressed women with tempers; everything that is underbred and decivilised; abominable weddings: in one drawing a bridegroom with shambling sidelong legs asks his bride if she is nervous; she is a widow, and she answers, ‘No, never was.’ In all these things there is very little humour. ”

“ The poet pledges his word, his sentence, his verse, and finds therein a peculiar sanction. And I suppose that even physical pain takes on an edge when it not only enforces a pang but whispers a phrase. Consciousness and the word are almost as closely united as thought and the word. Almost—not quite; in spite of its inexpressive speech, the narrow house is aware and sensitive beyond, as it were, its poor power.
But as to the whole disparity between the destiny and the nature, we know it to be general. Life is great that is trivially transmitted; love is great that is vulgarly experienced. ”

“ The very word that lives, ‘new every morning,’ miraculously new, in the literature of a man of letters, they killed and put into their bag. And, in like manner, the emotion that should have caused the word is dead for those, and for those only, who abuse its expression. For the maker of a portable vocabulary is not content to turn his words up there: he turns up his feelings also, alphabetically or otherwise. Wonderful how much sensibility is at hand in such round words as the New Literature loves. Do you want a generous emotion? ”

“ Yet he will do it again; and those like-minded will assuredly also continue to show how much more completely human, how much more sensitive, how much more responsible, is the art of the critic than the world has ever dreamt till now. And, superior in so much, they will still count their superior weeping as the choicest of their gifts. And Lepidus, who loves to wonder, can have no better subject for his admiration than the pathos of the time. It is bred now of your mud by the operation of your sun. ”

“ Without power—no style. Without a possible humour,—no style. The weakling has no confidence in himself to keep him from grasping at words that he fancies hold within them the true passions of the race, ready for the uses of his egoism. And with a sense of humour a man will not steal from a shelf the precious treasure of the language and put it in his pocket. ”

“ But on the flat country the uprising is early and fresh, the arc is wide, the career is long. The most distant clouds, converging in the beautiful and little-studied order of cloud-perspective (for most painters treat clouds as though they formed perpendicular and not horizontal scenery) , are those that gather at the central point of sunrise. On the plain, and there only, can the construction—but that is too little vital a word; I should rather say the organism—the unity, the design, of a sky be understood. The light wind that has been moving all night is seen to have not worked at random. ”

“ The leg, completing as it does the form of man, should make a great part of that human scenery which is at least as important as the scenery of geological structure, or the scenery of architecture, or the scenery of vegetation, but which the lovers of mountains and the preservers of ancient buildings have consented to ignore. The leg is the best part of the figure, inasmuch as it has the finest lines and therewith those slender, diminishing forms which, coming at the base of the human structure, show it to be a thing of life by its unstable equilibrium. ”

“ How should he not have loved a life that his living made honourable? How should he not have loved all arts, in which his choice was delicate, liberal, instructed, studious, docile, austere? An amateur man he might have been called, too, because he was not discomposed by his own experiences, or shaken by the discovery which life brings to us-that the negative quality of which Buddhism seems to accuse all good is partaken by our happiness. ”

“ We are defrauded of our interior ignorance, which should be a place of peace. We are forced to confess more articulately than befits our convention with ourselves. We are hurried out of our reluctances. We are made too much aware. Nay, more: we are tempted to the outward activity of destruction; reviewing becomes almost inevitable. As for the spiritual life—O weary, weary act of refusal! O waste but necessary hours, vigil and wakefulness of fear! ‘We live by admiration’ only a shortened life who live so much in the iteration of rejection and repulse. ”

“ And to distrust is more humiliating than to be distrusted. How many of these landscape-painters, deliberately rash, are painting the truth of their own impressions? An ethical question as to loyalty is easily answered; truth and falsehood as to fact are, happily for the intelligence of the common conscience, not hard to divide. But when the dubium concerns not fact but artistic truth, can the many be sure that their sensitiveness, their candour, their scruple, their delicate equipoise of perceptions, the vigilance of their apprehension, are enough? ”