Themista's Blog

From The Green Round, by Arthur Machen (1933):

“Has it ever been your fortune, courteous reader,” the author enquired, “to rise in the earliest dawning of a summer day, ere yet the radiant beams of the sun have done more than touch with light the domes and spires of the great city? Have you risen from your couch, weary, perchance, of sleepless hours of tossing to and fro, or, it may be, impelled by the call of business, and gone forth through the familiar street where your abode is situated, the street which had known your steps by day and by night, but never before at the hour of dawn? If this has been your lot, have you not observed that magic powers have apparently been at work? The accustomed scene has lost its familiar appearance. The houses which you have passed daily, it may be for many years, as you have issued forth on your avocations or your amusements, now seem as if you beheld them for the first time. They have suffered a mysterious change, into something rich and strange. Though they may have been designed by no extraordinary exertion of the art of architecture, though their materials may be of common brick and stone and piaster, though neither Pentelicus nor Ferrara has assisted in the adornment of these edifices; yet you have been ready to affirm that they now ‘stand in glory, shine like stars, apparelled in a light serene’. They have become magical habitations, supernal dwellings; more desirable to the eye than the fabled pleasure dome of the Eastern potentate, or the bejewelled hall built by the Genie for Aladdin in the Arabian Tale.” And so forth, and so forth: “And if the boughs of a tree chance to extend over a garden wall, you are ready to vow that its roots must flourish in the soil of Paradise. . . . Your perspective may be closed by the heights of Hampstead or of Highgate; but in the light of the Aurora these hills rise in the land that is very far off.” A good deal in this vein; and then a curious passage: “But all these are transitory effects that soon disappear. As the sun mounts in the sky, the vision fades into the light of common day; buildings, trees, objects close at hand and distant vistas resume their ordinary aspect; the whole enchanting scene is now a sullen street of common clay. You may, perhaps, reproach yourself with having allowed your senses to be beguiled and your imagination to be overcome by the mere fad: that you have gazed on a familiar scene in unusual circumstances. Yet, some have declared that it lies within our own choice to gaze continually upon a world of like beauty, or even greater.”

From The Three-Cornered World (1906) by Soseki Natsume

If pressed for an explanation, I would say that my soul was moving with the spring. Imagine all the colours, breezes, elements and voices of spring solidified, ground to powder and blended together to form an elixir of life, which had then been dissolved in dew gathered from the slopes of Olympus, and evaporated in the sun of fairyland. I felt now as though the vapour rising from just such a precious liquid had seeped through the pores of my skin and, without my being conscious of it, saturated my soul.

From Studies in Prose and Verse (1908) by Arthur Symons.

A man who goes through a day without some fine emotion has wasted his day, whatever he has gained by it. And it is so easy to go through day after day, busily and agreeably, without ever really living for a single instant. Art begins when a man wishes to immortalise the most vivid moment he has ever lived. Life has already, to one not an artist, become art in that moment. And the making of one’s life into art is after all the first duty and privilege of every man. It is to escape from material reality into whatever form of ecstasy is our own form of spiritual existence.

From Painting in the Far East (1908) by Laurence Binyon.

Flowers, Moon, Snow; these three beauties of earth and air have a peculiar glory and consecration in the art of the Far East. A Japanese friend of mine told me that when he was in Paris he woke one morning to find that snow had fallen in the night. As a matter of course, he took his way to the Bois de Boulogne to admire the beauty of the snow upon the trees. What was his astonishment when, with his friend, another Japanese, he arrived in the Bois, to find it totally solitary and deserted! The two companions paid their vows to beauty in the whiteness and the stillness, and at last beheld in the distance two other figures approaching. They were comforted. “We are not quite alone,” they said to themselves. There were at least two other “just men” in that city of the indifferent and the blind. The figures drew nearer. They also were Japanese! We in Europe are not blind to the beauty of the snow “And the radiant shapes of frost,” but certainly we are far from having that kind of religious feeling which prompts the Japanese to go out and contemplate its freshly fallen splendour. We do not regard it as visible manifestation of beauty, the apparition of a power from the unseen, at whose coming it behoves them to be present. I am not sure that we are not more conscious of the inconveniences of a snowfall than of its loveliness.

From The Vision of Asia (1933) by L. Cranmer-Byng:

The gift of the Chinese nation at its zenith to the future was the gift of vitality through art. Its interpreters were interpreters of life and not of theory about life. They were citizens of this world, and as administrators, magistrates and even soldiers they played the part of men in public affairs. But the life from which they drew their power of evoking life, of calling the dreaming forces of Nature from their enchanted sleep, remains hidden from the eyes of the world. It is not for Art to reveal its Whence; the secret of its magic belongs to religion. Yet those who care to go deeper into the sources of human inspiration may find something to guide them in the following passage taken from an ancient Taoist text: ‘The essence of the perfect Tao is solitude and silence; the highest point of the perfect Tao, its further pole, is secrecy and silence; there, where is neither sight nor sound, where the spirit is centered in absolute peace; where, sans effort from within or movement from without, calm complete and perfect purity are Kings; where the spiritual essence dies not and dims not; where thought irradiates to its fullest splendour and the hidden life puts forth its flowers; where I—the strength within, close-shrined from all externals, all apprehensive, compact of wisdom and intimate power—know how to guard the self of self and secure the harmony of all my being.’