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diff --git a/2061-h/2061-h.htm b/2061-h/2061-h.htm new file mode 100644 index 0000000..773e554 --- /dev/null +++ b/2061-h/2061-h.htm @@ -0,0 +1,1789 @@ +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=US-ASCII" /> +<title>Shorter Prose Pieces, by Oscar Wilde</title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + P { margin-top: .75em; + margin-bottom: .75em; + } + P.gutsumm { margin-left: 5%;} + P.poetry {margin-left: 3%; } + .GutSmall { font-size: 0.7em; } + H1, H2 { + text-align: center; + margin-top: 2em; + margin-bottom: 2em; + } + H3, H4, H5 { + text-align: center; + margin-top: 1em; + margin-bottom: 1em; + } + BODY{margin-left: 10%; + margin-right: 10%; + } + table { border-collapse: collapse; } +table {margin-left:auto; margin-right:auto;} + td { vertical-align: top; border: 1px solid black;} + td p { margin: 0.2em; } + .blkquot {margin-left: 4em; margin-right: 4em;} /* block indent */ + + .smcap {font-variant: small-caps;} + + .pagenum {position: absolute; + left: 92%; + font-size: small; + text-align: right; + font-weight: normal; + color: gray; + } + img { border: none; } + img.dc { float: left; width: 50px; height: 50px; } + p.gutindent { margin-left: 2em; } + div.gapspace { height: 0.8em; } + div.gapline { height: 0.8em; width: 100%; border-top: 1px solid;} + div.gapmediumline { height: 0.3em; width: 40%; margin-left:30%; + border-top: 1px solid; } + div.gapmediumdoubleline { height: 0.3em; width: 40%; margin-left:30%; + border-top: 1px solid; border-bottom: 1px solid;} + div.gapshortdoubleline { height: 0.3em; width: 20%; + margin-left: 40%; border-top: 1px solid; + border-bottom: 1px solid; } + div.gapdoubleline { height: 0.3em; width: 50%; + margin-left: 25%; border-top: 1px solid; + border-bottom: 1px solid;} + div.gapshortline { height: 0.3em; width: 20%; margin-left:40%; + border-top: 1px solid; } + .citation {vertical-align: super; + font-size: .5em; + text-decoration: none;} + span.red { color: red; } + body {background-color: #ffffc0; } + img.floatleft { float: left; + margin-right: 1em; + margin-top: 0.5em; margin-bottom: 0.5em; } + img.floatright { float: right; + margin-left: 1em; margin-top: 0.5em; + margin-bottom: 0.5em; } + img.clearcenter {display: block; + margin-left: auto; + margin-right: auto; margin-top: 0.5em; + margin-bottom: 0.5em} + --> + /* XML end ]]>*/ + </style> +</head> +<body> +<pre> + +The Project Gutenberg eBook, Shorter Prose Pieces, by Oscar Wilde + + +This eBook is for the use of anyone anywhere in the United States and most +other parts of the world at no cost and with almost no restrictions +whatsoever. You may copy it, give it away or re-use it under the terms of +the Project Gutenberg License included with this eBook or online at +www.gutenberg.org. If you are not located in the United States, you'll have +to check the laws of the country where you are located before using this ebook. + + + + +Title: Shorter Prose Pieces + + +Author: Oscar Wilde + + + +Release Date: August 11, 2019 [eBook #2061] +[This file was first posted June 2, 1999] + +Language: English + +Character set encoding: ISO-646-US (US-ASCII) + + +***START OF THE PROJECT GUTENBERG EBOOK SHORTER PROSE PIECES*** +</pre> +<p>Transcribed from the 1920 Methuen edition of <i>Art and +Decoration</i> by David Price, email ccx074@pglaf.lorg</p> +<p style="text-align: center"> +<a href="images/cover.jpg"> +<img alt= +"Public domain book cover" +title= +"Public domain book cover" + src="images/cover.jpg" /> +</a></p> +<h1>OSCAR WILDE—SHORTER PROSE PIECES</h1> +<h2>CONTENTS</h2> +<table> +<tr> +<td><p> </p> +</td> +<td><p style="text-align: right"><span +class="GutSmall">PAGE</span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Phrases and Philosophies for the use +of the Young</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page1">1</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Mrs. Langtry as Hester +Grazebrook</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page53">53</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Slaves of Fashion</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page56">56</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Woman’s Dress</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page60">60</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">More Radical Ideas upon Dress +Reform</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page66">66</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Costume</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page80">80</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The American Invasion</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page83">83</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Sermons in Stones at +Bloomsbury</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page90">90</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">L’Envoi</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page119">119</a></span></p> +</td> +</tr> +</table> +<h2><a name="page1"></a><span class="pagenum">p. 1</span>PHRASES +AND PHILOSOPHIES FOR<br /> +THE USE OF THE YOUNG</h2> +<p style="text-align: center">(December 1894)</p> +<p><span class="smcap">The</span> first duty in life is to be as +artificial as possible. What the second duty is no one has +as yet discovered.</p> +<p>Wickedness is a myth invented by good people to account for +the curious attractiveness of others.</p> +<p>If the poor only had profiles there would be no difficulty in +solving the problem of poverty.</p> +<p>Those who see any difference between soul and body have +neither.</p> +<p>A really well-made buttonhole is the only link between Art and +Nature.</p> +<p>Religions die when they are proved to be true. Science +is the record of dead religions.</p> +<p>The well-bred contradict other people. The wise +contradict themselves.</p> +<p>Nothing that actually occurs is of the smallest +importance.</p> +<p>Dulness is the coming of age of seriousness.</p> +<p>In all unimportant matters, style, not sincerity, is the +essential. In all important matters, style, not sincerity, +is the essential.</p> +<p>If one tells the truth one is sure, sooner or later, to be +found out.</p> +<p>Pleasure is the only thing one should live for. Nothing +ages like happiness.</p> +<p>It is only by not paying one’s bills that one can hope +to live in the memory of the commercial classes.</p> +<p>No crime is vulgar, but all vulgarity is crime. +Vulgarity is the conduct of others.</p> +<p>Only the shallow know themselves.</p> +<p>Time is waste of money.</p> +<p>One should always be a little improbable.</p> +<p>There is a fatality about all good resolutions. They are +invariably made too soon.</p> +<p>The only way to atone for being occasionally a little +overdressed is by being always absolutely overeducated.</p> +<p>To be premature is to be perfect.</p> +<p>Any preoccupation with ideas of what is right or wrong in +conduct shows an arrested intellectual development.</p> +<p>Ambition is the last refuge of the failure.</p> +<p>A truth ceases to be true when more than one person believes +in it.</p> +<p>In examinations the foolish ask questions that the wise cannot +answer.</p> +<p>Greek dress was in its essence inartistic. Nothing +should reveal the body but the body.</p> +<p>One should either be a work of art, or wear a work of art.</p> +<p>It is only the superficial qualities that last. +Man’s deeper nature is soon found out.</p> +<p>Industry is the root of all ugliness.</p> +<p>The ages live in history through their anachronisms.</p> +<p>It is only the gods who taste of death. Apollo has +passed away, but Hyacinth, whom men say he slew, lives on. +Nero and Narcissus are always with us.</p> +<p>The old believe everything: the middle-aged suspect +everything; the young know everything.</p> +<p>The condition of perfection is idleness: the aim of perfection +is youth.</p> +<p>Only the great masters of style ever succeeded in being +obscure.</p> +<p>There is something tragic about the enormous number of young +men there are in England at the present moment who start life +with perfect profiles, and end by adopting some useful +profession.</p> +<p>To love oneself is the beginning of a life-long romance.</p> +<h2><a name="page53"></a><span class="pagenum">p. 53</span>MRS. +LANGTRY AS HESTER GRAZEBROOK</h2> +<p style="text-align: center">(<i>New York World</i>, November 7, +1882)</p> +<p><span class="smcap">It</span> is only in the best Greek gems, +on the silver coins of Syracuse, or among the marble figures of +the Parthenon frieze, that one can find the ideal representation +of the marvellous beauty of that face which laughed through the +leaves last night as Hester Grazebrook.</p> +<p>Pure Greek it is, with the grave low forehead, the exquisitely +arched brow; the noble chiselling of the mouth, shaped as if it +were the mouthpiece of an instrument of music; the supreme and +splendid curve of the cheek; the augustly pillared throat which +bears it all: it is Greek, because the lines which compose it are +so definite and so strong, and yet so exquisitely harmonized that +the effect is one of simple loveliness purely: Greek, because its +essence and its quality, as is the quality of music and of +architecture, is that of beauty based on absolutely mathematical +laws.</p> +<p>But while art remains dumb and immobile in its passionless +serenity, with the beauty of this face it is different: the grey +eyes lighten into blue or deepen into violet as fancy succeeds +fancy; the lips become flower-like in laughter or, tremulous as a +bird’s wing, mould themselves at last into the strong and +bitter moulds of pain or scorn. And then motion comes, and +the statue wakes into life. But the life is not the +ordinary life of common days; it is life with a new value given +to it, the value of art: and the charm to me of Hester +Grazebrook’s acting in the first scene of the play last +night was that mingling of classic grace with absolute reality +which is the secret of all beautiful art, of the plastic work of +the Greeks and of the pictures of Jean François Millet +equally.</p> +<p>I do not think that the sovereignty and empire of +women’s beauty has at all passed away, though we may no +longer go to war for them as the Greeks did for the daughter of +Leda. The greatest empire still remains for them—the +empire of art. And, indeed, this wonderful face, seen last +night for the first time in America, has filled and permeated +with the pervading image of its type the whole of our modern art +in England. Last century it was the romantic type which +dominated in art, the type loved by Reynolds and Gainsborough, of +wonderful contrasts of colour, of exquisite and varying charm of +expression, but without that definite plastic feeling which +divides classic from romantic work. This type degenerated +into mere facile prettiness in the hands of lesser masters, and, +in protest against it, was created by the hands of the +Pre-Raphaelites a new type, with its rare combination of Greek +form with Florentine mysticism. But this mysticism becomes +over-strained and a burden, rather than an aid to expression, and +a desire for the pure Hellenic joy and serenity came in its +place; and in all our modern work, in the paintings of such men +as Albert Moore and Leighton and Whistler, we can trace the +influence of this single face giving fresh life and inspiration +in the form of a new artistic ideal.</p> +<h2><a name="page56"></a><span class="pagenum">p. 56</span>SLAVES +OF FASHION</h2> +<p><span class="smcap">Miss Leffler-Arnim’s</span> +statement, in a lecture delivered recently at St. Saviour’s +Hospital, that “she had heard of instances where ladies +were so determined not to exceed the fashionable measurement that +they had actually held on to a cross-bar while their maids +fastened the fifteen-inch corset,” has excited a good deal +of incredulity, but there is nothing really improbable in +it. From the sixteenth century to our own day there is +hardly any form of torture that has not been inflicted on girls, +and endured by women, in obedience to the dictates of an +unreasonable and monstrous Fashion. “In order to +obtain a real Spanish figure,” says Montaigne, “what +a Gehenna of suffering will not women endure, drawn in and +compressed by great <i>coches</i> entering the flesh; nay, +sometimes they even die thereof!” “A few days +after my arrival at school,” Mrs. Somerville tells us in +her memoirs, “although perfectly straight and well made, I +was enclosed in stiff stays, with a steel busk in front; while +above my frock, bands drew my shoulders back till the +shoulder-blades met. Then a steel rod with a semi-circle, +which went under my chin, was clasped to the steel busk in my +stays. In this constrained state I and most of the younger +girls had to prepare our lessons”; and in the life of Miss +Edgeworth we read that, being sent to a certain fashionable +establishment, “she underwent all the usual tortures of +back-boards, iron collars and dumbs, and also (because she was a +very tiny person) the unusual one of being hung by the neck to +draw out the muscles and increase the growth,” a signal +failure in her case. Indeed, instances of absolute +mutilation and misery are so common in the past that it is +unnecessary to multiply them; but it is really sad to think that +in our own day a civilized woman can hang on to a cross-bar while +her maid laces her waist into a fifteen-inch circle. To +begin with, the waist is not a circle at all, but an oval; nor +can there be any greater error than to imagine that an +unnaturally small waist gives an air of grace, or even of +slightness, to the whole figure. Its effect, as a rule, is +simply to exaggerate the width of the shoulders and the hips; and +those whose figures possess that stateliness which is called +stoutness by the vulgar, convert what is a quality into a defect +by yielding to the silly edicts of Fashion on the subject of +tight-lacing. The fashionable English waist, also, is not +merely far too small, and consequently quite out of proportion to +the rest of the figure, but it is worn far too low down. I +use the expression “worn” advisedly, for a waist +nowadays seems to be regarded as an article of apparel to be put +on when and where one likes. A long waist always implies +shortness of the lower limbs, and, from the artistic point of +view, has the effect of diminishing the height; and I am glad to +see that many of the most charming women in Paris are returning +to the idea of the Directoire style of dress. This style is +not by any means perfect, but at least it has the merit of +indicating the proper position of the waist. I feel quite +sure that all English women of culture and position will set +their faces against such stupid and dangerous practices as are +related by Miss Leffler-Arnim. Fashion’s motto is: +<i>Il faut souffrir pour être belle</i>; but the motto of +art and of common-sense is: <i>Il faut être bête pour +souffrir</i>.</p> +<p>Talking of Fashion, a critic in the <i>Pall Mall Gazelle</i> +expresses his surprise that I should have allowed an illustration +of a hat, covered with “the bodies of dead birds,” to +appear in the first number of the <i>Woman’s World</i>; and +as I have received many letters on the subject, it is only right +that I should state my exact position in the matter. +Fashion is such an essential part of the <i>mundus muliebris</i> +of our day, that it seems to me absolutely necessary that its +growth, development, and phases should be duly chronicled; and +the historical and practical value of such a record depends +entirely upon its perfect fidelity to fact. Besides, it is +quite easy for the children of light to adapt almost any +fashionable form of dress to the requirements of utility and the +demands of good taste. The Sarah Bernhardt tea-gown, for +instance, figured in the present issue, has many good points +about it, and the gigantic dress-improver does not appear to me +to be really essential to the mode; and though the Postillion +costume of the fancy dress ball is absolutely detestable in its +silliness and vulgarity, the so-called Late Georgian costume in +the same plate is rather pleasing. I must, however, protest +against the idea that to chronicle the development of Fashion +implies any approval of the particular forms that Fashion may +adopt.</p> +<h2><a name="page60"></a><span class="pagenum">p. +60</span>WOMAN’S DRESS</h2> +<p style="text-align: center">(<i>Pall Mall Gazette</i>, October +14, 1884)</p> +<blockquote><p><span class="smcap">Mr. Oscar Wilde</span>, who +asks us to permit him ‘that most charming of all pleasures, +the pleasure of answering one’s critics,’ sends us +the following remarks:—</p> +</blockquote> +<p><span class="smcap">The</span> “Girl Graduate” +must of course have precedence, not merely for her sex but for +her sanity: her letter is extremely sensible. She makes two +points: that high heels are a necessity for any lady who wishes +to keep her dress clean from the Stygian mud of our streets, and +that without a tight corset the ordinary number of petticoats and +etceteras’ cannot be properly or conveniently held +up. Now, it is quite true that as long as the lower +garments are suspended from the hips a corset is an absolute +necessity; the mistake lies in not suspending all apparel from +the shoulders. In the latter case a corset becomes useless, +the body is left free and unconfined for respiration and motion, +there is more health, and consequently more beauty. Indeed +all the most ungainly and uncomfortable articles of dress that +fashion has ever in her folly prescribed, not the tight corset +merely, but the farthingale, the vertugadin, the hoop, the +crinoline, and that modern monstrosity the so-called “dress +improver” also, all of them have owed their origin to the +same error, the error of not seeing that it is from the +shoulders, and from the shoulders only, that all garments should +be hung.</p> +<p>And as regards high heels, I quite admit that some additional +height to the shoe or boot is necessary if long gowns are to be +worn in the street; but what I object to is that the height +should be given to the heel only, and not to the sole of the foot +also. The modern high-heeled boot is, in fact, merely the +clog of the time of Henry VI., with the front prop left out, and +its inevitable effect is to throw the body forward, to shorten +the steps, and consequently to produce that want of grace which +always follows want of freedom.</p> +<p>Why should clogs be despised? Much art has been expended +on clogs. They have been made of lovely woods, and +delicately inlaid with ivory, and with mother-of-pearl. A +clog might be a dream of beauty, and, if not too high or too +heavy, most comfortable also. But if there be any who do +not like clogs, let them try some adaptation of the trouser of +the Turkish lady, which is loose round the limb and tight at the +ankle.</p> +<p>The “Girl Graduate,” with a pathos to which I am +not insensible, entreats me not to apotheosize “that awful, +befringed, beflounced, and bekilted divided skirt.” +Well, I will acknowledge that the fringes, the flounces, and the +kilting do certainly defeat the whole object of the dress, which +is that of ease and liberty; but I regard these things as mere +wicked superfluities, tragic proofs that the divided skirt is +ashamed of its own division. The principle of the dress is +good, and, though it is not by any means perfection, it is a step +towards it.</p> +<p>Here I leave the “Girl Graduate,” with much +regret, for Mr. Wentworth Huyshe. Mr. Huyshe makes the old +criticism that Greek dress is unsuited to our climate, and, to me +the somewhat new assertion, that the men’s dress of a +hundred years ago was preferable to that of the second part of +the seventeenth century, which I consider to have been the +exquisite period of English costume.</p> +<p>Now, as regards the first of these two statements, I will say, +to begin with, that the warmth of apparel does not depend really +on the number of garments worn, but on the material of which they +are made. One of the chief faults of modern dress is that +it is composed of far too many articles of clothing, most of +which are of the wrong substance; but over a substratum of pure +wool, such as is supplied by Dr. Jaeger under the modern German +system, some modification of Greek costume is perfectly +applicable to our climate, our country and our century. +This important fact has already been pointed out by Mr. E. W. +Godwin in his excellent, though too brief handbook on Dress, +contributed to the Health Exhibition. I call it an +important fact because it makes almost any form of lovely costume +perfectly practicable in our cold climate. Mr. Godwin, it +is true, points out that the English ladies of the thirteenth +century abandoned after some time the flowing garments of the +early Renaissance in favour of a tighter mode, such as Northern +Europe seems to demand. This I quite admit, and its +significance; but what I contend, and what I am sure Mr. Godwin +would agree with me in, is that the principles, the laws of Greek +dress may be perfectly realized, even in a moderately tight gown +with sleeves: I mean the principle of suspending all apparel from +the shoulders, and of relying for beauty of effect not on the +stiff ready-made ornaments of the modern milliner—the bows +where there should be no bows, and the flounces where there +should be no flounces—but on the exquisite play of light +and line that one gets from rich and rippling folds. I am +not proposing any antiquarian revival of an ancient costume, but +trying merely to point out the right laws of dress, laws which +are dictated by art and not by archæology, by science and +not by fashion; and just as the best work of art in our days is +that which combines classic grace with absolute reality, so from +a continuation of the Greek principles of beauty with the German +principles of health will come, I feel certain, the costume of +the future.</p> +<p>And now to the question of men’s dress, or rather to Mr. +Huyshe’s claim of the superiority, in point of costume, of +the last quarter of the eighteenth century over the second +quarter of the seventeenth. The broad-brimmed hat of 1640 +kept the rain of winter and the glare of summer from the face; +the same cannot be said of the hat of one hundred years ago, +which, with its comparatively narrow brim and high crown, was the +precursor of the modern “chimney-pot”: a wide +turned-down collar is a healthier thing than a strangling stock, +and a short cloak much more comfortable than a sleeved overcoat, +even though the latter may have had “three capes”; a +cloak is easier to put on and off, lies lightly on the shoulder +in summer, and wrapped round one in winter keeps one perfectly +warm. A doublet, again, is simpler than a coat and +waistcoat; instead of two garments one has one; by not being open +also it protects the chest better.</p> +<p>Short loose trousers are in every way to be preferred to the +tight knee-breeches which often impede the proper circulation of +the blood; and finally, the soft leather boots which could be +worn above or below the knee, are more supple, and give +consequently more freedom, than the stiff Hessian which Mr. +Huyshe so praises. I say nothing about the question of +grace and picturesqueness, for I suppose that no one, not even +Mr. Huyshe, would prefer a maccaroni to a cavalier, a Lawrence to +a Vandyke, or the third George to the first Charles; but for +ease, warmth and comfort this seventeenth-century dress is +infinitely superior to anything that came after it, and I do not +think it is excelled by any preceding form of costume. I +sincerely trust that we may soon see in England some national +revival of it.</p> +<h2><a name="page66"></a><span class="pagenum">p. 66</span>MORE +RADICAL IDEAS UPON DRESS REFORM</h2> +<p style="text-align: center">(<i>Pall Mall Gazette</i>, November +11, 1884)</p> +<p>I <span class="smcap">have</span> been much interested at +reading the large amount of correspondence that has been called +forth by my recent lecture on Dress. It shows me that the +subject of dress reform is one that is occupying many wise and +charming people, who have at heart the principles of health, +freedom, and beauty in costume, and I hope that “H. B. +T.” and “Materfamilias” will have all the real +influence which their letters—excellent letters both of +them—certainly deserve.</p> +<p>I turn first to Mr. Huyshe’s second letter, and the +drawing that accompanies it; but before entering into any +examination of the theory contained in each, I think I should +state at once that I have absolutely no idea whether this +gentleman wears his hair long or short, or his cuffs back or +forward, or indeed what he is like at all. I hope he +consults his own comfort and wishes in everything which has to do +with his dress, and is allowed to enjoy that individualism in +apparel which he so eloquently claims for himself, and so +foolishly tries to deny to others; but I really could not take +Mr. Wentworth Huyshe’s personal appearance as any +intellectual basis for an investigation of the principles which +should guide the costume of a nation. I am not denying the +force, or even the popularity, of the ‘’Eave arf a +brick’ school of criticism, but I acknowledge it does not +interest me. The gamin in the gutter may be a necessity, +but the gamin in discussion is a nuisance. So I will +proceed at once to the real point at issue, the value of the late +eighteenth-century costume over that worn in the second quarter +of the seventeenth: the relative merits, that is, of the +principles contained in each. Now, as regards the +eighteenth-century costume, Mr. Wentworth Huyshe acknowledges +that he has had no practical experience of it at all; in fact he +makes a pathetic appeal to his friends to corroborate him in his +assertion, which I do not question for a moment, that he has +never been “guilty of the eccentricity” of wearing +himself the dress which he proposes for general adoption by +others. There is something so naive and so amusing about +this last passage in Mr. Huyshe’s letter that I am really +in doubt whether I am not doing him a wrong in regarding him as +having any serious, or sincere, views on the question of a +possible reform in dress; still, as irrespective of any attitude +of Mr. Huyshe’s in the matter, the subject is in itself an +interesting one, I think it is worth continuing, particularly as +I have myself worn this late eighteenth-century dress many times, +both in public and in private, and so may claim to have a very +positive right to speak on its comfort and suitability. The +particular form of the dress I wore was very similar to that +given in Mr. Godwin’s handbook, from a print of +Northcote’s, and had a certain elegance and grace about it +which was very charming; still, I gave it up for these +reasons:—After a further consideration of the laws of dress +I saw that a doublet is a far simpler and easier garment than a +coat and waistcoat, and, if buttoned from the shoulder, far +warmer also, and that tails have no place in costume, except on +some Darwinian theory of heredity; from absolute experience in +the matter I found that the excessive tightness of knee-breeches +is not really comfortable if one wears them constantly; and, in +fact, I satisfied myself that the dress is not one founded on any +real principles. The broad-brimmed hat and loose cloak, +which, as my object was not, of course, historical accuracy but +modern ease, I had always worn with the costume in question, I +have still retained, and find them most comfortable.</p> +<p>Well, although Mr. Huyshe has no real experience of the dress +he proposes, he gives us a drawing of it, which he labels, +somewhat prematurely, “An ideal dress.” An +ideal dress of course it is not; “passably +picturesque,” he says I may possibly think it; well, +passably picturesque it may be, but not beautiful, certainly, +simply because it is not founded on right principles, or, indeed, +on any principles at all. Picturesqueness one may get in a +variety of ways; ugly things that are strange, or unfamiliar to +us, for instance, may be picturesque, such as a late +sixteenth-century costume, or a Georgian house. Ruins, +again, may be picturesque, but beautiful they never can be, +because their lines are meaningless. Beauty, in fact, is to +be got only from the perfection of principles; and in “the +ideal dress” of Mr. Huyshe there are no ideas or principles +at all, much less the perfection of either. Let us examine +it, and see its faults; they are obvious to any one who desires +more than a “Fancy-dress ball” basis for +costume. To begin with, the hat and boots are all +wrong. Whatever one wears on the extremities, such as the +feet and head, should, for the sake of comfort, be made of a soft +material, and for the sake of freedom should take its shape from +the way one chooses to wear it, and not from any stiff, +stereotyped design of hat or boot maker. In a hat made on +right principles one should be able to turn the brim up or down +according as the day is dark or fair, dry or wet; but the hat +brim of Mr. Huyshe’s drawing is perfectly stiff, and does +not give much protection to the face, or the possibility of any +at all to the back of the head or the ears, in case of a cold +east wind; whereas the bycocket, a hat made in accordance with +the right laws, can be turned down behind and at the sides, and +so give the same warmth as a hood. The crown, again, of Mr. +Huyshe’s hat is far too high; a high crown diminishes the +stature of a small person, and in the case of any one who is tall +is a great inconvenience when one is getting in and out of +hansoms and railway carriages, or passing under a street awning: +in no case is it of any value whatsoever, and being useless it is +of course against the principles of dress.</p> +<p>As regards the boots, they are not quite so ugly or so +uncomfortable as the hat; still they are evidently made of stiff +leather, as otherwise they would fall down to the ankle, whereas +the boot should be made of soft leather always, and if worn high +at all must be either laced up the front or carried well over the +knee: in the latter case one combines perfect freedom for walking +together with perfect protection against rain, neither of which +advantages a short stiff boot will ever give one, and when one is +resting in the house the long soft boot can be turned down as the +boot of 1640 was. Then there is the overcoat: now, what are +the right principles of an overcoat? To begin with, it +should be capable of being easily put on or off, and worn over +any kind of dress; consequently it should never have narrow +sleeves, such as are shown in Mr. Huyshe’s drawing. +If an opening or slit for the arm is required it should be made +quite wide, and may be protected by a flap, as in that excellent +overall the modern Inverness cape; secondly, it should not be too +tight, as otherwise all freedom of walking is impeded. If +the young gentleman in the drawing buttons his overcoat he may +succeed in being statuesque, though that I doubt very strongly, +but he will never succeed in being swift; his <i>super-totus</i> +is made for him on no principle whatsoever; a <i>super-totus</i>, +or overall, should be capable of being worn long or short, quite +loose or moderately tight, just as the wearer wishes; he should +be able to have one arm free and one arm covered or both arms +free or both arms covered, just as he chooses for his convenience +in riding, walking, or driving; an overall again should never be +heavy, and should always be warm: lastly, it should be capable of +being easily carried if one wants to take it off; in fact, its +principles are those of freedom and comfort, and a cloak realizes +them all, just as much as an overcoat of the pattern suggested by +Mr. Huyshe violates them.</p> +<p>The knee-breeches are of course far too tight; any one who has +worn them for any length of time—any one, in fact, whose +views on the subject are not purely theoretical—will agree +with me there; like everything else in the dress, they are a +great mistake. The substitution of the jacket for the coat +and waistcoat of the period is a step in the right direction, +which I am glad to see; it is, however, far too tight over the +hips for any possible comfort. Whenever a jacket or doublet +comes below the waist it should be slit at each side. In +the seventeenth century the skirt of the jacket was sometimes +laced on by points and tags, so that it could be removed at will, +sometimes it was merely left open at the sides: in each case it +exemplified what are always the true principles of dress, I mean +freedom and adaptability to circumstances.</p> +<p>Finally, as regards drawings of this kind, I would point out +that there is absolutely no limit at all to the amount of +“passably picturesque” costumes which can be either +revived or invented for us; but that unless a costume is founded +on principles and exemplified laws, it never can be of any real +value to us in the reform of dress. This particular drawing +of Mr. Huyshe’s, for instance, proves absolutely nothing, +except that our grandfathers did not understand the proper laws +of dress. There is not a single rule of right costume which +is not violated in it, for it gives us stiffness, tightness and +discomfort instead of comfort, freedom and ease.</p> +<p>Now here, on the other hand, is a dress which, being founded +on principles, can serve us as an excellent guide and model; it +has been drawn for me, most kindly, by Mr. Godwin from the Duke +of Newcastle’s delightful book on horsemanship, a book +which is one of our best authorities on our best era of +costume. I do not of course propose it necessarily for +absolute imitation; that is not the way in which one should +regard it; it is not, I mean, a revival of a dead costume, but a +realization of living laws. I give it as an example of a +particular application of principles which are universally +right. This rationally dressed young man can turn his hat +brim down if it rains, and his loose trousers and boots down if +he is tired—that is, he can adapt his costume to +circumstances; then he enjoys perfect freedom, the arms and legs +are not made awkward or uncomfortable by the excessive tightness +of narrow sleeves and knee-breeches, and the hips are left quite +untrammelled, always an important point; and as regards comfort, +his jacket is not too loose for warmth, nor too close for +respiration; his neck is well protected without being strangled, +and even his ostrich feathers, if any Philistine should object to +them, are not merely dandyism, but fan him very pleasantly, I am +sure, in summer, and when the weather is bad they are no doubt +left at home, and his cloak taken out. <i>The value of the +dress is simply that every separate article of it expresses a +law</i>. My young man is consequently apparelled with +ideas, while Mr. Huyshe’s young man is stiffened with +facts; the latter teaches one nothing; from the former one learns +everything. I need hardly say that this dress is good, not +because it is seventeenth century, but because it is constructed +on the true principles of costume, just as a square lintel or +pointed arch is good, not because one may be Greek and the other +Gothic, but because each of them is the best method of spanning a +certain-sized opening, or resisting a certain weight. The +fact, however, that this dress was generally worn in England two +centuries and a half ago shows at least this, that the right laws +of dress have been understood and realized in our country, and so +in our country may be realized and understood again. As +regards the absolute beauty of this dress and its meaning, I +should like to say a few words more. Mr. Wentworth Huyshe +solemnly announces that “he and those who think with +him” cannot permit this question of beauty to be imported +into the question of dress; that he and those who think with him +take “practical views on the subject,” and so +on. Well, I will not enter here into a discussion as to how +far any one who does not take beauty and the value of beauty into +account can claim to be practical at all. The word +practical is nearly always the last refuge of the +uncivilized. Of all misused words it is the most evilly +treated. But what I want to point out is that beauty is +essentially organic; that is, it comes, not from without, but +from within, not from any added prettiness, but from the +perfection of its own being; and that consequently, as the body +is beautiful, so all apparel that rightly clothes it must be +beautiful also in its construction and in its lines.</p> +<p>I have no more desire to define ugliness than I have daring to +define beauty; but still I would like to remind those who mock at +beauty as being an unpractical thing of this fact, that an ugly +thing is merely a thing that is badly made, or a thing that does +not serve it purpose; that ugliness is want of fitness; that +ugliness is failure; that ugliness is uselessness, such as +ornament in the wrong place, while beauty, as some one finely +said, is the purgation of all superfluities. There is a +divine economy about beauty; it gives us just what is needful and +no more, whereas ugliness is always extravagant; ugliness is a +spendthrift and wastes its material; in fine, ugliness—and +I would commend this remark to Mr. Wentworth +Huyshe—ugliness, as much in costume as in anything else, is +always the sign that somebody has been unpractical. So the +costume of the future in England, if it is founded on the true +laws of freedom, comfort, and adaptability to circumstances, +cannot fail to be most beautiful also, because beauty is the sign +always of the rightness of principles, the mystical seal that is +set upon what is perfect, and upon what is perfect only.</p> +<p>As for your other correspondent, the first principle of dress +that all garments should be hung from the shoulders and not from +the waist seems to me to be generally approved of, although an +“Old Sailor” declares that no sailors or athletes +ever suspend their clothes from the shoulders, but always from +the hips. My own recollection of the river and running +ground at Oxford—those two homes of Hellenism in our little +Gothic town—is that the best runners and rowers (and my own +college turned out many) wore always a tight jersey, with short +drawers attached to it, the whole costume being woven in one +piece. As for sailors, it is true, I admit, and the bad +custom seems to involve that constant “hitching up” +of the lower garments which, however popular in transpontine +dramas, cannot, I think, but be considered an extremely awkward +habit; and as all awkwardness comes from discomfort of some kind, +I trust that this point in our sailor’s dress will be +looked to in the coming reform of our navy, for, in spite of all +protests, I hope we are about to reform everything, from +torpedoes to top-hats, and from crinolettes to cruises.</p> +<p>Then as regards clogs, my suggestion of them seems to have +aroused a great deal of terror. Fashion in her high-heeled +boots has screamed, and the dreadful word +“anachronism” has been used. Now, whatever is +useful cannot be an anachronism. Such a word is applicable +only to the revival of some folly; and, besides, in the England +of our own day clogs are still worn in many of our manufacturing +towns, such as Oldham. I fear that in Oldham they may not +be dreams of beauty; in Oldham the art of inlaying them with +ivory and with pearl may possibly be unknown; yet in Oldham they +serve their purpose. Nor is it so long since they were worn +by the upper classes of this country generally. Only a few +days ago I had the pleasure of talking to a lady who remembered +with affectionate regret the clogs of her girlhood; they were, +according to her, not too high nor too heavy, and were provided, +besides, with some kind of spring in the sole so as to make them +the more supple for the foot in walking. Personally, I +object to all additional height being given to a boot or shoe; it +is really against the proper principles of dress, although, if +any such height is to be given it should be by means of two +props; not one; but what I should prefer to see is some +adaptation of the divided skirt or long and moderately loose +knickerbockers. If, however, the divided skirt is to be of +any positive value, it must give up all idea of “being +identical in appearance with an ordinary skirt”; it must +diminish the moderate width of each of its divisions, and +sacrifice its foolish frills and flounces; the moment it imitates +a dress it is lost; but let it visibly announce itself as what it +actually is, and it will go far towards solving a real +difficulty. I feel sure that there will be found many +graceful and charming girls ready to adopt a costume founded on +these principles, in spite of Mr. Wentworth Huyshe’s +terrible threat that he will not propose to them as long as they +wear it, for all charges of a want of womanly character in these +forms of dress are really meaningless; every right article of +apparel belongs equally to both sexes, and there is absolutely no +such thing as a definitely feminine garment. One word of +warning I should like to be allowed to give: The over-tunic +should be made full and moderately loose; it may, if desired, be +shaped more or less to the figure, but in no case should it be +confined at the waist by any straight band or belt; on the +contrary, it should fall from the shoulder to the knee, or below +it, in fine curves and vertical lines, giving more freedom and +consequently more grace. Few garments are so absolutely +unbecoming as a belted tunic that reaches to the knees, a fact +which I wish some of our Rosalinds would consider when they don +doublet and hose; indeed, to the disregard of this artistic +principle is due the ugliness, the want of proportion, in the +Bloomer costume, a costume which in other respects is +sensible.</p> +<h2><a name="page80"></a><span class="pagenum">p. +80</span>COSTUME</h2> +<p><span class="smcap">Are</span> we not all weary of him, that +venerable impostor fresh from the steps of the Piazza di Spagna, +who, in the leisure moments that he can spare from his customary +organ, makes the round of the studios and is waited for in +Holland Park? Do we not all recognize him, when, with the +gay <i>insouciance</i> of his nation, he reappears on the walls +of our summer exhibitions as everything that he is not, and as +nothing that he is, glaring at us here as a patriarch of Canaan, +here beaming as a brigand from the Abruzzi? Popular is he, +this poor peripatetic professor of posing, with those whose joy +it is to paint the posthumous portrait of the last philanthropist +who in his lifetime had neglected to be photographed,—yet +he is the sign of the decadence, the symbol of decay.</p> +<p>For all costumes are caricatures. The basis of Art is +not the Fancy Ball. Where there is loveliness of dress, +there is no dressing up. And so, were our national attire +delightful in colour, and in construction simple and sincere; +were dress the expression of the loveliness that it shields and +of the swiftness and motion that it does not impede; did its +lines break from the shoulder instead of bulging from the waist; +did the inverted wineglass cease to be the ideal of form; were +these things brought about, as brought about they will be, then +would painting be no longer an artificial reaction against the +ugliness of life, but become, as it should be, the natural +expression of life’s beauty. Nor would painting +merely, but all the other arts also, be the gainers by a change +such as that which I propose; the gainers, I mean, through the +increased atmosphere of Beauty by which the artists would be +surrounded and in which they would grow up. For Art is not +to be taught in Academies. It is what one looks at, not +what one listens to, that makes the artist. The real +schools should be the streets. There is not, for instance, +a single delicate line, or delightful proportion, in the dress of +the Greeks, which is not echoed exquisitely in their +architecture. A nation arrayed in stove-pipe hats and +dress-improvers might have built the Pantechnichon possibly, but +the Parthenon never. And finally, there is this to be said: +Art, it is true, can never have any other claim but her own +perfection, and it may be that the artist, desiring merely to +contemplate and to create, is wise in not busying himself about +change in others: yet wisdom is not always the best; there are +times when she sinks to the level of common-sense; and from the +passionate folly of those—and there are many—who +desire that Beauty shall be confined no longer to the +<i>bric-à-brac</i> of the collector and the dust of the +museum, but shall be, as it should be, the natural and national +inheritance of all,—from this noble unwisdom, I say, who +knows what new loveliness shall be given to life, and, under +these more exquisite conditions, what perfect artist born? +<i>Le milieu se renouvelant</i>, <i>l’art se +renouvelle</i>.</p> +<h2><a name="page83"></a><span class="pagenum">p. 83</span>THE +AMERICAN INVASION</h2> +<p style="text-align: center">(March 1887)</p> +<p>A <span class="smcap">terrible</span> danger is hanging over +the Americans in London. Their future and their reputation +this season depend entirely on the success of Buffalo Bill and +Mrs. Brown-Potter. The former is certain to draw; for +English people are far more interested in American barbarism than +they are in American civilization. When they sight Sandy +Hook they look to their rifles and ammunition; and, after dining +once at Delmonico’s, start off for Colorado or California, +for Montana or the Yellow Stone Park. Rocky Mountains charm +them more than riotous millionaires; they have been known to +prefer buffaloes to Boston. Why should they not? The +cities of America are inexpressibly tedious. The Bostonians +take their learning too sadly; culture with them is an +accomplishment rather than an atmosphere; their +“Hub,” as they call it, is the paradise of +prigs. Chicago is a sort of monster-shop, full of bustle +and bores. Political life at Washington is like political +life in a suburban vestry. Baltimore is amusing for a week, +but Philadelphia is dreadfully provincial; and though one can +dine in New York one could not dwell there. Better the Far +West with its grizzly bears and its untamed cowboys, its free +open-air life and its free open-air manners, its boundless +prairie and its boundless mendacity! This is what Buffalo +Bill is going to bring to London; and we have no doubt that +London will fully appreciate his show.</p> +<p>With regard to Mrs. Brown-Potter, as acting is no longer +considered absolutely essential for success on the English stage, +there is really no reason why the pretty bright-eyed lady who +charmed us all last June by her merry laugh and her nonchalant +ways, should not—to borrow an expression from her native +language—make a big boom and paint the town red. We +sincerely hope she will; for, on the whole, the American invasion +has done English society a great deal of good. American +women are bright, clever, and wonderfully cosmopolitan. +Their patriotic feelings are limited to an admiration for Niagara +and a regret for the Elevated Railway; and, unlike the men, they +never bore us with Bunkers Hill. They take their dresses +from Paris and their manners from Piccadilly, and wear both +charmingly. They have a quaint pertness, a delightful +conceit, a native self-assertion. They insist on being paid +compliments and have almost succeeded in making Englishmen +eloquent. For our aristocracy they have an ardent +admiration; they adore titles and are a permanent blow to +Republican principles. In the art of amusing men they are +adepts, both by nature and education, and can actually tell a +story without forgetting the point—an accomplishment that +is extremely rare among the women of other countries. It is +true that they lack repose and that their voices are somewhat +harsh and strident when they land first at Liverpool; but after a +time one gets to love those pretty whirlwinds in petticoats that +sweep so recklessly through society and are so agitating to all +duchesses who have daughters. There is something +fascinating in their funny, exaggerated gestures and their +petulant way of tossing the head. Their eyes have no magic +nor mystery in them, but they challenge us for combat; and when +we engage we are always worsted. Their lips seem made for +laughter and yet they never grimace. As for their voices +they soon get them into tune. Some of them have been known +to acquire a fashionable drawl in two seasons; and after they +have been presented to Royalty they all roll their R’s as +vigorously as a young equerry or an old lady-in-waiting. +Still, they never really lose their accent; it keeps peeping out +here and there, and when they chatter together they are like a +bevy of peacocks. Nothing is more amusing than to watch two +American girls greeting each other in a drawing-room or in the +Row. They are like children with their shrill staccato +cries of wonder, their odd little exclamations. Their +conversation sounds like a series of exploding crackers; they are +exquisitely incoherent and use a sort of primitive, emotional +language. After five minutes they are left beautifully +breathless and look at each other half in amusement and half in +affection. If a stolid young Englishman is fortunate enough +to be introduced to them he is amazed at their extraordinary +vivacity, their electric quickness of repartee, their +inexhaustible store of curious catchwords. He never really +understands them, for their thoughts flutter about with the sweet +irresponsibility of butterflies; but he is pleased and amused and +feels as if he were in an aviary. On the whole, American +girls have a wonderful charm and, perhaps, the chief secret of +their charm is that they never talk seriously except about +amusements. They have, however, one grave fault—their +mothers. Dreary as were those old Pilgrim Fathers who left +our shores more than two centuries ago to found a New England +beyond the seas, the Pilgrim Mothers who have returned to us in +the nineteenth century are drearier still.</p> +<p>Here and there, of course, there are exceptions, but as a +class they are either dull, dowdy or dyspeptic. It is only +fair to the rising generation of America to state that they are +not to blame for this. Indeed, they spare no pains at all +to bring up their parents properly and to give them a suitable, +if somewhat late, education. From its earliest years every +American child spends most of its time in correcting the faults +of its father and mother; and no one who has had the opportunity +of watching an American family on the deck of an Atlantic +steamer, or in the refined seclusion of a New York +boarding-house, can fail to have been struck by this +characteristic of their civilization. In America the young +are always ready to give to those who are older than themselves +the full benefits of their inexperience. A boy of only +eleven or twelve years of age will firmly but kindly point out to +his father his defects of manner or temper; will never weary of +warning him against extravagance, idleness, late hours, +unpunctuality, and the other temptations to which the aged are so +particularly exposed; and sometimes, should he fancy that he is +monopolizing too much of the conversation at dinner, will remind +him, across the table, of the new child’s adage, +“Parents should be seen, not heard.” Nor does +any mistaken idea of kindness prevent the little American girl +from censuring her mother whenever it is necessary. Often, +indeed, feeling that a rebuke conveyed in the presence of others +is more truly efficacious than one merely whispered in the quiet +of the nursery, she will call the attention of perfect strangers +to her mother’s general untidiness, her want of +intellectual Boston conversation, immoderate love of iced water +and green corn, stinginess in the matter of candy, ignorance of +the usages of the best Baltimore Society, bodily ailments, and +the like. In fact, it may be truly said that no American +child is ever blind to the deficiencies of its parents, no matter +how much it may love them.</p> +<p>Yet, somehow, this educational system has not been so +successful as it deserved. In many cases, no doubt, the +material with which the children had to deal was crude and +incapable of real development; but the fact remains that the +American mother is a tedious person. The American father is +better, for he is never seen in London. He passes his life +entirely in Wall Street and communicates with his family once a +month by means of a telegram in cipher. The mother, +however, is always with us, and, lacking the quick imitative +faculty of the younger generation, remains uninteresting and +provincial to the last. In spite of her, however, the +American girl is always welcome. She brightens our dull +dinner parties for us and makes life go pleasantly by for a +season. In the race for coronets she often carries off the +prize; but, once she has gained the victory, she is generous and +forgives her English rivals everything, even their beauty.</p> +<p>Warned by the example of her mother that American women do not +grow old gracefully, she tries not to grow old at all and often +succeeds. She has exquisite feet and hands, is always +<i>bien chaussée et bien gantée</i> and can talk +brilliantly upon any subject, provided that she knows nothing +about it.</p> +<p>Her sense of humour keeps her from the tragedy of a <i>grande +passion</i>, and, as there is neither romance nor humility in her +love, she makes an excellent wife. What her ultimate +influence on English life will be it is difficult to estimate at +present; but there can be no doubt that, of all the factors that +have contributed to the social revolution of London, there are +few more important, and none more delightful, than the American +Invasion.</p> +<h2><a name="page90"></a><span class="pagenum">p. +90</span>SERMONS IN STONES AT BLOOMSBURY</h2> +<p style="text-align: center"><span class="GutSmall">THE NEW +SCULPTURE ROOM AT THE BRITISH MUSEUM</span></p> +<p style="text-align: center">(October 1887)</p> +<p><span class="smcap">Through</span> the exertions of Sir +Charles Newton, to whom every student of classic art should be +grateful, some of the wonderful treasures so long immured in the +grimy vaults of the British Museum have at last been brought to +light, and the new Sculpture Room now opened to the public will +amply repay the trouble of a visit, even from those to whom art +is a stumbling-block and a rock of offence. For setting +aside the mere beauty of form, outline and mass, the grace and +loveliness of design and the delicacy of technical treatment, +here we have shown to us what the Greeks and Romans thought about +death; and the philosopher, the preacher, the practical man of +the world, and even the Philistine himself, cannot fail to be +touched by these “sermons in stones,” with their deep +significance, their fertile suggestion, their plain +humanity. Common tombstones they are, most of them, the +work not of famous artists but of simple handicraftsmen, only +they were wrought in days when every handicraft was an art. +The finest specimens, from the purely artistic point of view, are +undoubtedly the two <i>stelai</i> found at Athens. They are +both the tombstones of young Greek athletes. In one the +athlete is represented handing his <i>strigil</i> to his slave, +in the other the athlete stands alone, <i>strigil</i> in +hand. They do not belong to the greatest period of Greek +art, they have not the grand style of the Phidian age, but they +are beautiful for all that, and it is impossible not to be +fascinated by their exquisite grace and by the treatment which is +so simple in its means, so subtle in its effect. All the +tombstones, however, are full of interest. Here is one of +two ladies of Smyrna who were so remarkable in their day that the +city voted them honorary crowns; here is a Greek doctor examining +a little boy who is suffering from indigestion; here is the +memorial of Xanthippus who, probably, was a martyr to gout, as he +is holding in his hand the model of a foot, intended, no doubt, +as a votive offering to some god. A lovely <i>stele</i> +from Rhodes gives us a family group. The husband is on +horseback and is bidding farewell to his wife, who seems as if +she would follow him but is being held back by a little +child. The pathos of parting from those we love is the +central motive of Greek funeral art. It is repeated in +every possible form, and each mute marble stone seems to murmur +<i>χαîρε</i>. Roman art is +different. It introduces vigorous and realistic portraiture +and deals with pure family life far more frequently than Greek +art does. They are very ugly, those stern-looking Roman men +and women whose portraits are exhibited on their tombs, but they +seem to have been loved and respected by their children and their +servants. Here is the monument of Aphrodisius and Atilia, a +Roman gentleman and his wife, who died in Britain many centuries +ago, and whose tombstone was found in the Thames; and close by it +stands a <i>stele</i> from Rome with the busts of an old married +couple who are certainly marvellously ill-favoured. The +contrast between the abstract Greek treatment of the idea of +death and the Roman concrete realization of the individuals who +have died is extremely curious.</p> +<p>Besides the tombstones, the new Sculpture Room contains some +most fascinating examples of Roman decorative art under the +Emperors. The most wonderful of all, and this alone is +worth a trip to Bloomsbury, is a bas-relief representing a +marriage scene, Juno Pronuba is joining the hands of a handsome +young noble and a very stately lady. There is all the grace +of Perugino in this marble, all the grace of Raphael even. +The date of it is uncertain, but the particular cut of the +bridegroom’s beard seems to point to the time of the +Emperor Hadrian. It is clearly the work of Greek artists +and is one of the most beautiful bas-reliefs in the whole +Museum. There is something in it which reminds one of the +music and the sweetness of Propertian verse. Then we have +delightful friezes of children. One representing children +playing on musical instruments might have suggested much of the +plastic art of Florence. Indeed, as we view these marbles +it is not difficult to see whence the Renaissance sprang and to +what we owe the various forms of Renaissance art. The +frieze of the Muses, each of whom wears in her hair a feather +plucked from the wings of the vanquished sirens, is extremely +fine; there is a lovely little bas-relief of two cupids racing in +chariots; and the frieze of recumbent Amazons has some splendid +qualities of design. A frieze of children playing with the +armour of the god Mars should also be mentioned. It is full +of fancy and delicate humour.</p> +<p>We hope that some more of the hidden treasures will shortly be +catalogued and shown. In the vaults at present there is a +very remarkable bas-relief of the marriage of Cupid and Psyche, +and another representing the professional mourners weeping over +the body of the dead. The fine cast of the Lion of +Chæronea should also be brought up, and so should the +<i>stele</i> with the marvellous portrait of the Roman +slave. Economy is an excellent public virtue, but the +parsimony that allows valuable works of art to remain in the grim +and gloom of a damp cellar is little short of a detestable public +vice.</p> +<h2><a name="page119"></a><span class="pagenum">p. +119</span>L’ENVOI</h2> +<p class="gutsumm">An introduction to <i>Rose Leaf and Apple +Leaf</i> by Rennell Rodd, published by J. M. Stoddart and Co., +Philadelphia, 1882.</p> +<p><span class="smcap">Amongst</span> the many young men in +England who are seeking along with me to continue and to perfect +the English Renaissance—<i>jeunes guerriers du drapeau +romantique</i>, as Gautier would have called us—there is +none whose love of art is more flawless and fervent, whose +artistic sense of beauty is more subtle and more +delicate—none, indeed, who is dearer to myself—than +the young poet whose verses I have brought with me to America; +verses full of sweet sadness, and yet full of joy; for the most +joyous poet is not he who sows the desolate highways of this +world with the barren seed of laughter, but he who makes his +sorrow most musical, this indeed being the meaning of joy in +art—that incommunicable element of artistic delight which, +in poetry, for instance, comes from what Keats called +“sensuous life of verse,” the element of song in the +singing, made so pleasurable to us by that wonder of motion which +often has its origin in mere musical impulse, and in painting is +to be sought for, from the subject never, but from the pictorial +charm only—the scheme and symphony of the colour, the +satisfying beauty of the design: so that the ultimate expression +of our artistic movement in painting has been, not in the +spiritual vision of the Pre-Raphaelites, for all their marvel of +Greek legend and their mystery of Italian song, but in the work +of such men as Whistler and Albert Moore, who have raised design +and colour to the ideal level of poetry and music. For the +quality of their exquisite painting comes from the mere inventive +and creative handling of line and colour, from a certain form and +choice of beautiful workmanship, which, rejecting all literary +reminiscence and all metaphysical idea, is in itself entirely +satisfying to the æsthetic sense—is, as the Greeks +would say, an end in itself; the effect of their work being like +the effect given to us by music; for music is the art in which +form and matter are always one—the art whose subject cannot +be separated from the method of its expression; the art which +most completely realizes for us the artistic ideal, and is the +condition to which all the other arts are constantly +aspiring.</p> +<p>Now, this increased sense of the absolutely satisfying value +of beautiful workmanship, this recognition of the primary +importance of the sensuous element in art, this love of art for +art’s sake, is the point in which we of the younger school +have made a departure from the teaching of Mr. Ruskin,—a +departure definite and different and decisive.</p> +<p>Master indeed of the knowledge of all noble living and of the +wisdom of all spiritual things will he be to us ever, seeing that +it was he who by the magic of his presence and the music of his +lips taught us at Oxford that enthusiasm for beauty which is the +secret of Hellenism, and that desire for creation which is the +secret of life, and filled some of us, at least, with the lofty +and passionate ambition to go forth into far and fair lands with +some message for the nations and some mission for the world, and +yet in his art criticism, his estimate of the joyous element of +art, his whole method of approaching art, we are no longer with +him; for the keystone to his æsthetic system is ethical +always. He would judge of a picture by the amount of noble +moral ideas it expresses; but to us the channels by which all +noble work in painting can touch, and does touch, the soul are +not those of truths of life or metaphysical truths. To him +perfection of workmanship seems but the symbol of pride, and +incompleteness of technical resource the image of an imagination +too limitless to find within the limits of form its complete +expression, or of love too simple not to stammer in its +tale. But to us the rule of art is not the rule of +morals. In an ethical system, indeed, of any gentle mercy +good intentions will, one is fain to fancy, have their +recognition; but of those that would enter the serene House of +Beauty the question that we ask is not what they had ever meant +to do, but what they have done. Their pathetic intentions +are of no value to us, but their realized creations only. +<i>Pour moi je préfère les poètes qui font +des vers</i>, <i>les médecins qui sachent +guérir</i>, <i>les peintres qui sanchent peindre</i>.</p> +<p>Nor, in looking at a work of art, should we be dreaming of +what it symbolises, but rather loving it for what it is. +Indeed, the transcendental spirit is alien to the spirit of +art. The metaphysical mind of Asia may create for itself +the monstrous and many-breasted idol, but to the Greek, pure +artist, that work is most instinct with spiritual life which +conforms most closely to the perfect facts of physical life +also. Nor, in its primary aspect, has a painting, for +instance, any more spiritual message or meaning for us than a +blue tile from the wall of Damascus, or a Hitzen vase. It +is a beautifully coloured surface, nothing more, and affects us +by no suggestion stolen from philosophy, no pathos pilfered from +literature, no feeling filched from a poet, but by its own +incommunicable artistic essence—by that selection of truth +which we call style, and that relation of values which is the +draughtsmanship of painting, by the whole quality of the +workmanship, the arabesque of the design, the splendour of the +colour, for these things are enough to stir the most divine and +remote of the chords which make music in our soul, and colour, +indeed, is of itself a mystical presence on things, and tone a +kind of sentiment . . . all these poems aim, as I said, at +producing a purely artistic effect, and have the rare and +exquisite quality that belongs to work of that kind; and I feel +that the entire subordination in our æsthetic movement of +all merely emotional and intellectual motives to the vital +informing poetic principle is the surest sign of our +strength.</p> +<p>But it is not enough that a work of art should conform to the +æsthetic demands of the age: there should be also about it, +if it is to give us any permanent delight, the impress of a +distinct individuality. Whatever work we have in the +nineteenth century must rest on the two poles of personality and +perfection. And so in this little volume, by separating the +earlier and more simple work from the work that is later and +stronger and possesses increased technical power and more +artistic vision, one might weave these disconnected poems, these +stray and scattered threads, into one fiery-coloured strand of +life, noting first a boy’s mere gladness of being young, +with all its simple joy in field and flower, in sunlight and in +song, and then the bitterness of sudden sorrow at the ending by +Death of one of the brief and beautiful friendships of +one’s youth, with all those unanswered lodgings and +questionings unsatisfied by which we vex, so uselessly, the +marble face of death; the artistic contrast between the +discontented incompleteness of the spirit and the complete +perfection of the style that expresses it forming the chief +element of the æsthetic charm of these particular +poems;—and then the birth of Love, and all the wonder and +the fear and the perilous delight of one on whose boyish brows +the little wings of love have beaten for the first time; and the +love-songs, so dainty and delicate, little swallow-flights of +music, and full of such fragrance and freedom that they might all +be sung in the open air and across moving water; and then autumn, +coming with its choirless woods and odorous decay and ruined +loveliness, Love lying dead; and the sense of the mere pity of +it.</p> +<p>One might stop there, for from a young poet one should ask for +no deeper chords of life than those that love and friendship make +eternal for us; and the best poems in the volume belong clearly +to a later time, a time when these real experiences become +absorbed and gathered up into a form which seems from such real +experiences to be the most alien and the most remote; when the +simple expression of joy or sorrow suffices no longer, and lives +rather in the stateliness of the cadenced metre, in the music and +colour of the linked words, than in any direct utterance; lives, +one might say, in the perfection of the form more than in the +pathos of the feeling. And yet, after the broken music of +love and the burial of love in the autumn woods, we can trace +that wandering among strange people, and in lands unknown to us, +by which we try so pathetically to heal the hurts of the life we +know, and that pure and passionate devotion to Art which one gets +when the harsh reality of life has too suddenly wounded one, and +is with discontent or sorrow marring one’s youth, just as +often, I think, as one gets it from any natural joy of living; +and that curious intensity of vision by which, in moments of +overmastering sadness and despair ungovernable, artistic things +will live in one’s memory with a vivid realism caught from +the life which they help one to forget—an old grey tomb in +Flanders with a strange legend on it, making one think how, +perhaps, passion does live on after death; a necklace of blue and +amber beads and a broken mirror found in a girl’s grave at +Rome, a marble image of a boy habited like Erôs, and with +the pathetic tradition of a great king’s sorrow lingering +about it like a purple shadow,—over all these the tired +spirit broods with that calm and certain joy that one gets when +one has found something that the ages never dull and the world +cannot harm; and with it comes that desire of Greek things which +is often an artistic method of expressing one’s desire for +perfection; and that longing for the old dead days which is so +modern, so incomplete, so touching, being, in a way, the inverted +torch of Hope, which burns the hand it should guide; and for many +things a little sadness, and for all things a great love; and +lastly, in the pinewood by the sea, once more the quick and vital +pulse of joyous youth leaping and laughing in every line, the +frank and fearless freedom of wave and wind waking into fire +life’s burnt-out ashes and into song the silent lips of +pain,—how clearly one seems to see it all, the long +colonnade of pines with sea and sky peeping in here and there +like a flitting of silver; the open place in the green, deep +heart of the wood with the little moss-grown altar to the old +Italian god in it; and the flowers all about, cyclamen in the +shadowy places, and the stars of the white narcissus lying like +snow-flakes over the grass, where the quick, bright-eyed lizard +starts by the stone, and the snake lies coiled lazily in the sun +on the hot sand, and overhead the gossamer floats from the +branches like thin, tremulous threads of gold,—the scene is +so perfect for its motive, for surely here, if anywhere, the real +gladness of life might be revealed to one’s youth—the +gladness that comes, not from the rejection, but from the +absorption, of all passion, and is like that serene calm that +dwells in the faces of the Greek statues, and which despair and +sorrow cannot touch, but intensify only.</p> +<p>In some such way as this we could gather up these strewn and +scattered petals of song into one perfect rose of life, and yet, +perhaps, in so doing, we might be missing the true quality of the +poems; one’s real life is so often the life that one does +not lead; and beautiful poems, like threads of beautiful silks, +may be woven into many patterns and to suit many designs, all +wonderful and all different: and romantic poetry, too, is +essentially the poetry of impressions, being like that latest +school of painting, the school of Whistler and Albert Moore, in +its choice of situation as opposed to subject; in its dealing +with the exceptions rather than with the types of life; in its +brief intensity; in what one might call its fiery-coloured +momentariness, it being indeed the momentary situations of life, +the momentary aspects of nature, which poetry and painting new +seek to render for us. Sincerity and constancy will the +artist, indeed, have always; but sincerity in art is merely that +plastic perfection of execution without which a poem or a +painting, however noble its sentiment or human its origin, is but +wasted and unreal work, and the constancy of the artist cannot be +to any definite rule or system of living, but to that principle +of beauty only through which the inconstant shadows of his life +are in their most fleeting moment arrested and made +permanent. He will not, for instance, in intellectual +matters acquiesce in that facile orthodoxy of our day which is so +reasonable and so artistically uninteresting, nor yet will he +desire that fiery faith of the antique time which, while it +intensified, yet limited the vision; still less will he allow the +calm of his culture to be marred by the discordant despair of +doubt or the sadness of a sterile scepticism; for the Valley +Perilous, where ignorant armies clash by night, is no +resting-place meet for her to whom the gods have assigned the +clear upland, the serene height, and the sunlit air,—rather +will he be always curiously testing new forms of belief, tinging +his nature with the sentiment that still lingers about some +beautiful creeds, and searching for experience itself, and not +for the fruits of experience; when he has got its secret, he will +leave without regret much that was once very precious to +him. “I am always insincere,” says Emerson +somewhere, “as knowing that there are other moods”: +“<i>Les émotions</i>,” wrote Théophile +Gautier once in a review of Arsène Houssaye, “<i>Les +émotions</i>, <i>ne se ressemblent pas</i>, <i>mais +être ému</i>—<i>voilà +l’important</i>.”</p> +<p>Now, this is the secret of the art of the modern romantic +school, and gives one the right keynote for its apprehension; but +the real quality of all work which, like Mr. Rodd’s, aims, +as I said, at a purely artistic effect, cannot be described in +terms of intellectual criticism; it is too intangible for +that. One can perhaps convey it best in terms of the other +arts, and by reference to them; and, indeed, some of these poems +are as iridescent and as exquisite as a lovely fragment of +Venetian glass; others as delicate in perfect workmanship and as +single in natural motive as an etching by Whistler is, or one of +those beautiful little Greek figures which in the olive woods +round Tanagra men can still find, with the faint gilding and the +fading crimson not yet fled from hair and lips and raiment; and +many of them seem like one of Corot’s twilights just +passing into music; for not merely in visible colour, but in +sentiment also—which is the colour of poetry—may +there be a kind of tone.</p> +<p>But I think that the best likeness to the quality of this +young poet’s work I ever saw was in the landscape by the +Loire. We were staying once, he and I, at Amboise, that +little village with its grey slate roofs and steep streets and +gaunt, grim gateway, where the quiet cottages nestle like white +pigeons into the sombre clefts of the great bastioned rock, and +the stately Renaissance houses stand silent and apart—very +desolate now, but with some memory of the old days still +lingering about the delicately-twisted pillars, and the carved +doorways, with their grotesque animals, and laughing masks, and +quaint heraldic devices, all reminding one of a people who could +not think life real till they had made it fantastic. And +above the village, and beyond the bend of the river, we used to +go in the afternoon, and sketch from one of the big barges that +bring the wine in autumn and the wood in winter down to the sea, +or lie in the long grass and make plans <i>pour la gloire</i>, +<i>et pour ennuyer les Philistins</i>, or wander along the low, +sedgy banks, “matching our reeds in sportive +rivalry,” as comrades used in the old Sicilian days; and +the land was an ordinary land enough, and bare, too, when one +thought of Italy, and how the oleanders were robing the hillsides +by Genoa in scarlet, and the cyclamen filling with its purple +every valley from Florence to Rome; for there was not much real +beauty, perhaps, in it, only long, white dusty roads and straight +rows of formal poplars; but, now and then, some little breaking +gleam of broken light would lend to the grey field and the silent +barn a secret and a mystery that were hardly their own, would +transfigure for one exquisite moment the peasants passing down +through the vineyard, or the shepherd watching on the hill, would +tip the willows with silver and touch the river into gold; and +the wonder of the effect, with the strange simplicity of the +material, always seemed to me to be a little like the quality of +these the verses of my friend.</p> +<p>***END OF THE PROJECT GUTENBERG EBOOK SHORTER PROSE PIECES***</p> +<pre> + + +***** This file should be named 2061-h.htm or 2061-h.zip****** + + +This and all associated files of various formats will be found in: +http://www.gutenberg.org/dirs/2/0/6/2061 + + +Updated editions will replace the previous one--the old editions will +be renamed. + +Creating the works from print editions not protected by U.S. copyright +law means that no one owns a United States copyright in these works, +so the Foundation (and you!) can copy and distribute it in the United +States without permission and without paying copyright +royalties. 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