the colour of life(生命之色)-第11节
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unstable。 Who can deny that women are generally used to look about for
the little stationary repose just described？ Whether in intellectual or in
spiritual things； they do not often live without it。
She； none the less； fled upon unstable equilibrium； escaped upon it；
depended upon it； trusted it； was ‘ware of it； was on guard against it； as
she sped amid her crowd her own unstable equilibrium； her machine's； that
of the judgment； the temper； the skill； the perception； the strength of men
and horses。
She had learnt the difficult peace of suspense。 She had learnt also the
lowly and self…denying faith in common chances。 She had learnt to be
content with her share … no more … in common security； and to be pleased
with her part in common hope。 For all this； it may be repeated； she could
have had but small preparation。 Yet no anxiety was hers； no uneasy
distrust and disbelief of that human thing … an average of life and death。
To this courage the woman in grey had attained with a spring； and she
had seated herself suddenly upon a place of detachment between earth and
air； freed from the principal detentions； weights； and embarrassments of
the usual life of fear。 She had made herself； as it were； light； so as not to
dwell either in security or danger； but to pass between them。 She
confessed difficulty and peril by her delicate evasions； and consented to
rest in neither。 She would not owe safety to the mere motionlessness of a
seat on the solid earth； but she used gravitation to balance the slight
burdens of her wariness and her confidence。 She put aside all the pride
and vanity of terror； and leapt into an unsure condition of liberty and
content。
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THE COLOUR OF LIFE
She leapt； too； into a life of moments。 No pause was possible to her
as she went； except the vibrating pause of a perpetual change and of an
unflagging flight。 A woman； long educated to sit still； does not suddenly
learn to live a momentary life without strong momentary resolution。 She
has no light achievement in limiting not only her foresight； which must
become brief； but her memory； which must do more； for it must rather
cease than become brief。 Idle memory wastes time and other things。
The moments of the woman in grey as they dropped by must needs
disappear； and be simply forgotten； as a child forgets。 Idle memory； by
the way； shortens life； or shortens the sense of time； by linking the
immediate past clingingly to the present。 Here may possibly be found
one of the reasons for the length of a child's time； and for the brevity of the
time that succeeds。 The child lets his moments pass by and quickly
become remote through a thousand little successive oblivions。 He has
not yet the languid habit of recall。
〃Thou art my warrior；〃 said Volumnia。 〃I holp to frame thee。〃 Shall
a man inherit his mother's trick of speaking； or her habit and attitude； and
not suffer something； against his will； from her bequest of weakness； and
something； against his heart； from her bequest of folly？ From the
legacies of an unlessoned mind； a woman's heirs…male are not cut off in
the Common Law of the generations of mankind。 Brutus knew that the
valour of Portia was settled upon his sons。
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THE COLOUR OF LIFE
SYMMETRY AND INCIDENT
The art of Japan has none but an exterior part in the history of the art
of nations。 Being in its own methods and attitude the art of accident； it
has； appropriately； an accidental value。 It is of accidental value； and not
of integral necessity。 The virtual discovery of Japanese art； during the
later years of the second French Empire； caused Europe to relearn how
expedient； how delicate； and how lovely Incident may look when
Symmetry has grown vulgar。 The lesson was most welcome。 Japan has
had her full influence。 European art has learnt the value of position and the
tact of the unique。 But Japan is unlessoned； and （in all her characteristic
art） content with her own conventions； she is local； provincial； alien；
remote； incapable of equal companionship with a world that has Greek art
in its own history … Pericles 〃to its father。〃
Nor is it pictorial art； or decorative art only； that has been touched by
Japanese example of Incident and the Unique。 Music had attained the
noblest form of symmetry in the eighteenth century； but in music； too；
symmetry had since grown dull； and momentary music； the music of phase
and of fragment； succeeded。 The sense of symmetry is strong in a
complete melody … of symmetry in its most delicate and lively and least
stationary form … balance； whereas the leit…motif is isolated。 In domestic
architecture Symmetry and Incident make a familiar antithesis … the very
commonplace of rival methods of art。 But the same antithesis exists in
less obvious forms。 The poets have sought 〃irregular〃 metres。 Incident
hovers； in the very act of choosing its right place； in the most modern of
modern portraits。 In these we have； if not the Japanese suppression of
minor emphasis； certainly the Japanese exaggeration of major emphasis；
and with this a quickness and buoyancy。 The smile； the figure； the
drapery … not yet settled from the arranging touch of a hand； and showing
its mark … the restless and unstationary foot； and the unity of impulse that
has passed everywhere like a single breeze； all these have a life that
greatly transcends the life of Japanese art； yet has the nimble touch of
Japanese incident。 In passing； a charming comparison may be made
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between such portraiture and the aspect of an aspen or other tree of light
and liberal leaf； whether still or in motion the aspen and the free…leafed
poplar have the alertness and expectancy of flight in all their flocks of
leaves； while the oaks and elms are gathered in their station。 All this is
not Japanese； but from such accident is Japanese art inspired； with its good
luck of perceptiveness。
What symmetry is to form； that is repetition in the art of ornament。
Greek art and Gothic alike have series； with repetition or counter… change
for their ruling motive。 It is hardly necessary to draw the distinction
between this motive and that of the Japanese。 The Japanese motives may
be defined as uniqueness and position。 And these were not known as
motives of decoration before the study of Japanese decoration。
Repetition and counter…change； of course； have their place in Japanese
ornament； as in the diaper patterns for which these people have so singular
an invention； but here； too； uniqueness and position are the principal
inspiration。 And it is quite worth while； and much to the present purpose；
to call attention to the chief peculiarity of the Japanese diaper patterns；
which is INTERRUPTION。 Repetition there must necessarily be in these；
but symmetry is avoided by an interruption which is； to the Western eye； at
least； perpetually and freshly unexpected。 The place of the interruptions
of lines； the variation of the place； and the avoidance of correspondence；
are precisely what makes Japanese design of this class inimitable。 Thus；
even in a repeating pattern； you have a curiously successful effect of
impulse。 It is as though a separate intention had been formed by the
designer at every angle。 Suc
