the colour of life(生命之色)-第13节
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unexpected every time； and … especially in gold embroideries … is
sensitively fit for the material； catching and losing the light； while the
lengths of waving line are such as the long gold threads take by nature。
A moment ago this art was declared not human。 And； in fact； in no
other art has the figure suffered such crooked handling。 The Japanese
have generally evaded even the local beauty of their own race for the sake
of perpetual slight deformity。 Their beauty is remote from our sympathy
and admiration； and it is quite possible that we might miss it in pictorial
presentation； and that the Japanese artist may have intended human beauty
where we do not recognise it。 But if it is not easy to recognise； it is
certainly not difficult to guess at。 And； accordingly； you are generally
aware that the separate beauty of the race； and its separate dignity； even …
to be very generous … has been admired by the Japanese artist； and is
represented here and there occasionally； in the figure of warrior or
mousme。 But even with this exception the habit of Japanese figure…
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drawing is evidently grotesque； derisive； and crooked。 It is curious to
observe that the search for slight deformity is so constant as to make use；
for its purposes； not of action only； but of perspective foreshortening。
With us it is to the youngest child only that there would appear to be mirth
in the drawing of a man who； stooping violently forward； would seem to
have his head 〃beneath his shoulders。〃 The European child would not
see fun in the living man so presented； but … unused to the same effect 〃in
the flat〃 … he thinks it prodigiously humorous in a drawing。 But so only
when he is quite young。 The Japanese keeps； apparently； his sense of this
kind of humour。 It amuses him； but not perhaps altogether as it amuses
the child； that the foreshortened figure should； in drawing and to the
unpractised eye； seem distorted and dislocated； the simple Oriental
appears to find more derision in it than the simple child。 The distortion is
not without a suggestion of ignominy。 And； moreover； the Japanese
shows derision； but not precisely scorn。 He does not hold himself
superior to his hideous models。 He makes free with them on equal terms。
He is familiar with them。
And if this is the conviction gathered from ordinary drawings； no need
to insist upon the ignoble character of those that are intentional
caricatures。
Perhaps the time has hardly come for writing anew the praises of
symmetry。 The world knows too much of the abuse of Greek decoration；
and would be glad to forget it； with the intention of learning that art afresh
in a future age and of seeing it then anew。 But whatever may be the phases
of the arts； there is the abiding principle of symmetry in the body of man；
that goes erect； like an upright soul。 Its balance is equal。 Exterior
human symmetry is surely a curious physiological fact where there is no
symmetry interiorly。 For the centres of life and movement within the
body are placed with Oriental inequality。 Man is Greek without and
Japanese within。 But the absolute symmetry of the skeleton and of the
beauty and life that cover it is accurately a principle。 It controls； but not
tyrannously； all the life of human action。 Attitude and motion disturb
perpetually； with infinite incidents … inequalities of work； war； and pastime；
inequalities of sleep … the symmetry of man。 Only in death and 〃at
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attention〃 is that symmetry complete in attitude。 Nevertheless； it rules
the dance and the battle； and its rhythm is not to be destroyed。 All the
more because this hand holds the goad and that the harrow； this the shield
and that the sword； because this hand rocks the cradle and that caresses the
unequal heads of children； is this rhythm the law； and grace and strength
are inflections thereof。 All human movement is a variation upon
symmetry； and without symmetry it would not be variation； it would be
lawless； fortuitous； and as dull and broadcast as lawless art。 The order of
inflection that is not infraction has been explained in a most authoritative
sentence of criticism of literature； a sentence that should save the world
the trouble of some of its futile； violent； and weak experiments： 〃Law； the
rectitude of humanity；〃 says Mr Coventry Patmore； 〃should be the poet's
only subject； as； from time immemorial； it has been the subject of true art；
though many a true artist has done the Muse's will and knew it not。 As
all the music of verse arises； not from infraction but from inflection of the
law of the set metre； so the greatest poets have been those the MODULUS
of whose verse has been most variously and delicately inflected； in
correspondence with feelings and passions which are the inflections of
moral law in their theme。 Law puts a strain upon feeling； and feeling
responds with a strain upon law。 Furthermore； Aristotle says that the
quality of poetic language is a continual SLIGHT novelty。 In the highest
poetry； like that of Milton； these three modes of inflection； metrical；
linguistical； and moral； all chime together in praise of the truer order of
life。〃
And like that order is the order of the figure of man； an order most
beautiful and most secure when it is put to the proof。 That perpetual
proof by perpetual inflection is the very condition of life。 Symmetry is a
profound； if disregarded because perpetually inflected； condition of human
life。
The nimble art of Japan is unessential； it may come and go； may settle
or be fanned away。 It has life and it is not without law； it has an obvious
life； and a less obvious law。 But with Greece abides the obvious law and
the less obvious life： symmetry as apparent as the symmetry of the form of
man； and life occult like his unequal heart。 And this seems to be the
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nobler and the more perdurable relation。
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THE ILLUSION OF HISTORIC
TIME
He who has survived his childhood intelligently must become
conscious of something more than a change in his sense of the present and
in his apprehension of the future。 He must be aware of no less a thing
than the destruction of the past。 Its events and empires stand where they
did； and the mere relation of time is as it was。 But that which has fallen
together； has fallen in； has fallen close； and lies in a little heap； is the past
itself … time … the fact of antiquity。
He has grown into a smaller world as he has grown older。 There are
no more extremities。 Recorded time has no more terrors。 The unit of
measure which he holds in his hand has become in his eyes a thing of
paltry length。 The discovery draws in the annals of mankind。 He had
thought them to be wide。
For a man has nothing whereby to order and place the floods； the
states； the conquests； and the temples of the past； except only the measure
which he holds。 Call that measure a space of ten years。 His first ten years
had given him the illusion of a most august scale and measure。 It was
then that he conceived Antiquity。 But now！ Is it to a decade of ten such
little
