Impressions and Comments - Ellis Havelock

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swishing. … To women keen on this war it seems almost too good to be true." That is not an extract from one of the poignant satires of Janson. This woman, who writes of war as a girl might write of her first long frock, is an actual woman, a war-correspondent, with a special permit to be at the front. We are told, moreover, that she is, at the same time, actively nursing the wounded in the hospital.

      To those psychologists who like large generalisations, how this figure must appeal as a type of the ancient conventional conception of what women are supposed to be—Incarnate Devils, Angels of Mercy, blended together.

      October 18.—Stanley Hall has lately pointed out how much we have lost by eliminating the Devil from our theology. He is the inseparable Companion of God, and when faith in the Devil grows dim God fades away. Not only has the Devil been the Guardian of innocent pleasure, of the theatre, of dancing, of sports, Hall observes, but he preserved the virility of God. "Ought not we to rehabilitate and reinstall the Devil?"

      There is much psychological truth in this contention, even for those who are not concerned, with Stanley Hall, for the maintenance of orthodox Christian theology. By eliminating one of the Great Persons from our theology we not only emasculate, we dissolve it. We cannot with impunity pick and choose what we will dispense with and what we will preserve in our traditional myths. Let us take another sacred myth, as it may well have been, "Jack and the Bean Stalk." Suppose that our refined civilised impulses lead us to reject Jack, the reckless, mischievous, and irresponsible youth, who, after a brief but discreditable career on earth, climbed up into the clouds and fraudulently deprived the Great Giant in the sky of his most precious possessions. But if the revolted moral sense rejects Jack, is it likely that even the Great Giant himself will much longer retain our faith?

      In any case it must still be said that mere grandeur, creativeness, the apotheosis of virtue and benevolence, fail to constitute an adequate theological symbol for the complex human animal. Man needs to deify not only his moments of moral subjection and rectitude, but his moments of orgy and revolt. He has attained the height of civilisation, not along the one line only, but along both lines, and we cannot even be sure that the virtue line is the most important. Even the Puritan Milton ("a true poet and of the Devil's party without knowing it," as Blake said) made Satan the real hero of his theological epic, while the austere Carducci addressed a famous ode to Satan as the creator of human civilisation. And if you suspect that European culture may be only an eccentric aberration, then let us wander to the other side of the world, and we find, for instance, that the great Hawaiian goddess Kapo had a double life—now an angel of grace and beauty, now a demon of darkness and lust. Every profound vision of the world must recognise these two equally essential aspects of Nature and of Man; every vital religion must embody both aspects in superb and ennobling symbols. A religion can no more afford to degrade its Devil than to degrade its God.

      That is the error Christianity fell into at last. There can be no doubt that the Christian Devil had grown quite impossible, and his disappearance was imperative. Neither Milton nor Carducci could keep him alive. His palmy days were in the thirteenth, fourteenth, and fifteenth centuries, before the Renaissance had grown powerful enough to influence European life. Even during those palmy days he exercised a power that for the most part was not virile, but crushing and inhuman. It has been set forth in Dr. Paul Carus's History of the Devil. In the light of such a history as that I doubt much whether even Professor Stanley Hall himself would lift a finger to bring the Devil back among us again.

      October 22.—Gaby Deslys is just now a great attraction at the Palace Theatre. One is amused to note how this very Parisian person and her very Parisian performance are with infinite care adapted to English needs, and attuned to this comfortably respectable, not to say stolidly luxurious, house. We are shown a bedroom with a bed in it, and a little dressing-room by the side. Her task is to undress and go to bed. It is the sort of scene that may be seen anywhere in any music-hall all over Europe. But in the capital city of British propriety, and in a music-hall patronised by Royalty, this delicate task is surrounded and safeguarded by infinite precautions. One seems to detect that the scene has been rehearsed before a committee of ambiguously mixed composition. One sees the care with which they determined the precise moment at which the electric light should be switched off in the dressing-room; one realises their firm decision that the lady must, after all, go to bed fully clothed. One is conscious throughout of a careful anxiety that every avenue to "suggestiveness" shall be just hinted and at once decently veiled. There is something unpleasant, painful, degrading in this ingenious mingling of prurience and prudery. The spectators, if they think of it at all, must realise that throughout the whole trivial performance their emotions are being basely played upon, and yet that they are being treated with an insulting precaution which would be more in place in a lunatic asylum than in a gathering of presumably responsible men and women. In the end one is made to feel how far more purifying and ennobling than this is the spectacle of absolute nakedness, even on the stage, yes, even on the stage.

      And my thoughts go back to the day, less than two years ago, when for the first time this was clearly brought home to me by a performance—like this and yet so unlike—in a very different place, the simple, bare, almost sordid Teatro Gayarre. Most of the turns were of the same ordinary sort that might be seen in many another music-hall of the long Calle Marques del Duero. But at the end came on a performer who was, I soon found, of altogether another order. The famous Bianca Stella, as the programme announced, shortly to start on her South American tour, was appearing for a limited number of nights. I had never heard of Bianca Stella. She might, to look at, be Austrian, and one could imagine, from some of her methods, that she was a pupil of Isadora Duncan. She was certainly a highly trained and accomplished artist; though peculiarly fitted for her part by Nature, still an artist, not a child of Nature.

      Of fine and high type, tall and rather slim, attractive in face, almost faultless in proportion and detail, playing her difficult part with unfailing dignity and grace, Bianca Stella might in general type be a Bohemian out of Stratz's Schönheit des weiblichen Körpers, or even an aristocratic young Englishwoman. She comes on fully dressed, like Gaby Deslys, but with no such luxurious environment, and slowly disrobes, dancing all the while, one delicate garment at a time, until only a gauzy chemise is left and she flings herself on the bed. Then she rises, fastens on a black mantle which floats behind concealing nothing, at the same moment removing her chemise. There is now no concealment left save by a little close-fitting triangular shield of spangled silver, as large as the palm of her hand, fastened round her waist by an almost invisible cord, and she dances again with her beautiful, dignified air. Once more, this time in the afternoon, I went to see Bianca Stella dance. Now there was a dark curtain as a background. She came on with a piece of simple white drapery wound round her body; as she dances she unfolds it, holds it behind her as she dances, finally flings it away, dancing with her fleckless and delicately proportioned body before the dark curtain. Throughout the dances her dignity and grace, untouched by voluptuous appeal and yet always human, remained unfailing. Other dancers who came on before her, clothed dancers, had been petulantly wanton to their hearts' desire. Bianca Stella seemed to belong to another world. As she danced, when I noted the spectators, I could see here and there a gleam in the eyes of coarse faces, though there was no slightest movement or gesture or look of the dancer to evoke it. For these men Bianca Stella had danced in vain, for—it remains symbolically true—only the pure in heart can see God. To see Bianca Stella truly was to realise that it is not desire but a sacred awe which nakedness inspires, an intoxication of the spirit rather than of the senses, no flame of lust but rather a purifying and exalting fire. To feel otherwise has merely been the unhappy privilege of men intoxicated by the stifling and unwholesome air of modern artificiality. To the natural man, always and everywhere, even to-day, nakedness has in it a power of divine terror, which ancient men throughout the world crystallised into beautiful rites, so that when a woman unveiled herself it seemed to them that thunderstorms were silenced, and that noxious animals were killed, and that vegetation flourished, and that all the powers of evil were put to flight. That was their feeling, and, absurd as it may seem to us, a right and natural instinct lay beneath it. Some day, perhaps, a new moral reformer, a great apostle of purity, will appear among us, having his scourge in his hand, and enter our theatres and music-halls to purge them. Since I have seen Bianca Stella I know something of what he will do. It is not nakedness that he will cast out. It will more likely be clothes.

      So

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