It is promising that the first of Studies in Modern Literature and Thought that I started is Elizabeth Sewell’s Paul Valery. In a letter, Wallace Stevens thought it truly wonderful and recommended accompanying it with a Rhine wine or Moselle.
After a single chapter, I want to track down all Sewell wrote, in love with both her elegant prose and her brilliant mind.
“It is a curious and interesting fact that mirrors become increasingly frequent in literature toward the end of the nineteenth century.”
“Then there is Mallarmé himself, sitting, as he admitted in a letter to a close friend, in front of a mirror as he wrote, to make sure that he would not disappear into that nothingness which during the writing of Hérodiade his soul had seen and shuddered at.”
“It is as if, during the second half of the nineteenth century, literature were turning itself into a Galerie des Glaces—the French word being so much more expressive than the English one, conveying as it does the suggestion of ice as well as glass, the ‘froid féroce’ which Valery’s Faust discovers at the highest point of abstract thought in the mind, ‘essential solitude, the extreme of the rarefaction of Being’.
“It is useless to try to interpret any poet’s work, by symbols or any other literary technique; all we can do is to attempt to build something and hope that in doing so we may a little conform our minds to he shape of his.”
“He was a poet and a precise and rigorous thinker, but at the same time he was always watching himself making poetry, watching his mind thinking and making a form and structure out of its thoughts. Valery’s mind watches itself in the mirror.”
“It is like Mallarmé, whose poetry is so pure that it is about poetry and nothing else at all, a form commenting on a form, the content irrelevant.”
“The Schoolmen of the Middle Ages knew about it, but we lost it with the Renaissance and the Reformation, and by 1850 nobody was being taught to play the game of thought, any more than they are nowadays, and poets and thinkers were taking themselves seriously and separately.”
“Although logic and mathematics and chess flourish, poetry and hard thinking are in danger of becoming separated again. Mallarmé and Valery are dead, with no visible heirs; in England the only one who took this tradition over from Carroll was G. K. Chesterton, but he lacked the intellectual discipline to carry it through to perfection, either in thought or poetry, and since then the game has lapsed. But it is essential that it be revived, for poetry and thought will sicken if they cannot go on playing with one another. We no longer, alas, study the Scholastics, and so have forgotten how to think, forgotten that science and art belong together, that art is an intellectual virtue and that wisdom and games are to be pursued for their own sake. With heads untrained and idle we are too solemn to appreciate transcendental games such as Mallarmé plays, or too lazy to join in. We think comfortably that hard thought i.e. beyond our powers, and forget that mathematics and logic produced the Alices, to confound us.”
“If Valery was thinking about thinking, that is what we are going to have to do. It is perhaps worth noticing at this stage that Aristotle says in his Metaphysics that thinking about thinking must be the characteristic activity of the mind of God.”
Thanks for an interesting post as always! I’ve not read Elizabeth Sewell but thanks to your fabulous quotes, I’m now more familiar with her thoughts and ideas. She points out the close relationship between art and science, which attracted my interest so much that I found myself repeatedly reading this post. Then an idea occurred to me that this necessity of poetry and intellect is also implied by Edgar Allan Poe, who created a clever detective, Dupin who finds the culprit (an orangoutan) in The Murders in the Rue Morgue. What enables Dupin to solve a mystery is his poetic imagination and logical mind, like playing chess! Thanks for giving me a precious opportunity to think hard and leave a comment 🙂 Kazuko
My pleasure. I must reread Poe, in particular that story. Isn’t Dupin a proto-Holmes? It seems that those detectives and their powers of deduction demonstrate admirably the inherent creativity of science and its aesthetics, not that different from the art of creating fiction.
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