Colour possesses me

It’s the anniversary of Paul Klee’s birth today. What a painter, and not a bad diarist either! ‘The main thing now is not to paint precociously but to be, or at least become, an individual,’ he wrote in his diary aged 21; but, by his early 30s, he was telling himself: ‘Colour possesses me. It will always possess me. That is the meaning of this happy hour: colour and I are one. I am a painter.’

Klee was born in Munchenbuchsee into a family of musicians on 18 December 1879, 140 years ago today. He studied art at the Munich Academy of Fine Art and then travelled to Italy several times before settling in Bern in 1902. In the year 1906, he married Lily Stumpf, and they moved to Munich where, the following year, they had one child, Felix.

Klee’s first solo exhibition, in Bern, came in 1910. Soon after, he met Wassily Kandinsky, who opened his eyes to colour, and other avant garde artists, though it is suggested that colour only became central to Klee’s art after a trip he took to Tunisia in 1914 with August Macke and Louis Moilliet. Further exhibitions followed, even through the war, though in 1916 he was called to serve in the army. Being employed as a clerk and in painting aeroplanes, he saw no front line action.

Subsequently, Klee taught at the Bauhaus in Weimar and Dessau. In the mid-1920s, he published his now famous Pedagogical Sketchbook, which then was essentially a teaching tool for his Bauhaus students. Among his notable exhibitions of this period were those in New York, at the Société Anonyme and the Museum of Modern Art, and a first major show in Paris at the Galerie Vavin-Raspail. With the emergence of the Nazis, Klee returned to Switzerland, but developed scleroderma, a debilitating disease, in 1935; and he died in 1940. A large number of his paintings left behind in Germany were confiscated by Hitler’s regime. A lot more biographical information about Klee can be found at Wikipedia or Zentrum Paul Klee, in Bern, or the Paul Klee website.

Klee began keeping a diary while still a teenager in 1897, and he seems to have continued doing so until the end of the First World War. But it was not until the 1960s that his journals were edited by Felix Klee and published by University of California Press as The Diaries of Paul Klee, 1898-1918. Some pages can be previewed at Googlebooks. Moreover, nearly 4,000 pages from Klee’s notebooks are available to view online at Zentrum Paul Klee (although they are all in German). Here, though, are several extracts in English from the published diaries.

1901
‘Thoughts about the art of portraiture. Some will not recognize the truthfulness of my mirror. Let them remember that I am not here to reflect the surface (this can be done by the photographic plate), but must penetrate inside. My mirror probes down to the heart. I write words on the forehead and around the corners of the mouth. My human faces are truer than the real ones.’

3 June 1902
’My Italian trip now lies a month behind me. A strict review of my situation as a creative artist doesn’t yield very encouraging results; I don’t know why, but I continue nonetheless to be hopeful.

Perhaps from the realization that at the root of my devastating self-criticism there is, after all, some spiritual development.

Actually, the main thing now is not to paint precociously but to be or, at least, to become an individual. The art of mastering life is the prerequisite for all further forms of expression, whether they are paintings, sculptures, tragedies, or musical compositions. Not only to master life in practice, but to shape it meaningfully within me and to achieve as mature an attitude before it as possible. Obviously this isn’t accomplished with a few general precepts but grows like Nature. Besides, I wouldn’t know how to find any such precepts. A Weltanschauung will come of itself; the will alone doesn’t determine which direction will yield the clearest path: this is partly settled in the maternal womb and is ordained by fate.

As a beginner in this profession I shall not be able to please people; they will ask things of me that any clever young person with talent might easily come up with. My consolation is that the sincerity of my intention will always be more of a check to me than my lack of skill. Starting from an awareness of the prevalence of law, to broaden out until the horizon of thought once again becomes organized, and complexities, automatically falling into order, become simple again.’

March 1906
‘A nice anecdote still survives about the days when Mailer was a high-school student. To punish a teacher, it was decided that somebody had to shit on the handle of his door “before sunrise.” Two strong twelfth-graders raised Mimu to the proper height. But then Thiessing suggested that it would be more practical to produce the coating in a more comfortable position and then somehow to transplant it to the ordained place. But Haller rejected this procedure as too commonplace. He had no pity for the twelfth- graders: the sacredness of the act was to inspire them with the necessary strength.
To emphasize only the beautiful seems to me to be like a mathematical system that only concerns itself with positive numbers.’

16 April 1914 (in Tunisia)
‘In the morning, painted outside the city; a gently diffused light falls, at once mild and clear. No fog. Then sketched in town. A stupid guide provided a comic element. August taught him German words, but what words. In the afternoon, he took us to the mosque. The sun darted through, and how! We rode a while on the donkey.

In the evening, through the streets. A cafe decorated with pictures. Beautiful watercolors. We ransacked the place buying. A street scene around a mouse. Finally someone killed it with a shoe. We landed at a sidewalk cafe. An evening of colors as tender as they were clear. Virtuosos at checkers. Happy hour. Louis found exquisite color tidbits and I was to catch them, since I am so skillful at it.

I now abandon work. It penetrates so deeply and so gently into me, I feel it and it gives me confidence in myself without effort. Color possesses me. I don’t have to pursue it. It will possess me always, I know it. That is the meaning of this happy hour: Color and I are one. I am a painter.’

6 March 1916
‘Singing instructions are no longer given by the clear-voiced sergeant, but by Corporal Bruckner. A neat man with a slight squint that doesn’t look bad. First we all read the text together, then he sings the first stanza, fearfully off-key, so that our ears cringe. Then we sing it. Today we learned a horrible piece of trash called Flag Song. I am living with apes. I realize this seeing them take this unadulterated rubbish with such seriousness.’

6 December 1916
‘In the morning, arrived at Cambrai-Annex. Pasted on new stickers to Cantimpré, Cambrai’s other auxiliary station. Apparently our destination. We again have more time than we need and stroll off to town, a pitifully miserable, hungry village. Pleasant market. Plenty of endives. Lunch at the canteen in the station annex. Then back to the city, into a pastry shop with cakes and fruit. A battalion from the Somme marches up with music, an overwhelming sight. Everything yellow with mud. The unmilitary, matter-of-fact appearance, the steel helmets, the equipment. The trotting step. Nothing heroic, just like beasts of burden, like slaves. Against a background of circus music. The drummer outdoes himself. The worn faces convey only a distorted reflection, if any, of the joy of being replaced and sent off to rest.

Had a look at the airplanes below. Waited for a long time and then at last moved on to a little station. Again waited and waited in the waiting room of the main station, among a group of Saxons (brr!). And finally, moved on to another station, to Cantimpré. Here, out in the street at 3 a.m.’

21 February, 1918
‘This week we had three fatal casualties; one man was smashed by the propeller, the other two crashed from the air! Yesterday, a fourth came ploughing with a loud bang into the roof of the workshop. Had been flying too low, caught on a telephone pole, bounced on the roof of the factory, turned a somersault, and collapsed upside down in a heap of wreckage.’

January/February 1918
‘In the State Gallery, a first glance at things that were already there in the year 1906. My pleasure verges on irony. Owing to the absence of the paymaster, whose wife is critically ill, I am the uncontested master of the office every evening, which allows me to work there at my ease. Everything vanishes around me, and works are born as if out of the void. Ripe, graphic fruits fall off. My hand has become the obedient instrument of a remote will. I must have friends there, bright ones, and also dark ones. But I find them all very “generous.” ’

This article is a revised version of one first published 10 years ago on 18 December 2009.

The soul of this café

‘To give you the soul of this café, I must say that the immense porch of a mosque rests its six polygonal pillars in the very midst of the benches. The capitals are carved in a very strange Spanish baroque style. Five small domes lead to an adjoining high wall, which is pierced by a high narrow door in black wood where ivory and mother-of-pearl inlays shine in a complicated linear design.’ This is from a diary kept by Le Corbusier, born 130 years ago today, when still a young man, travelling through Europe, not yet an architect, but thirsty for knowledge, observing everything, and particularly interested in buildings.

Charles-Édouard Jeanneret was born on 6 October 1887, in La Chaux-de-Fonds, Switzerland, son of a watch engraver and a piano teacher. He studied at the local art school which taught applied arts connected with watchmaking, but was encouraged by one teacher towards architecture, and he set about teaching himself. With two friends, he designed and built his first house in 1905. In the next few years, he travelled frequently in Europe meeting artists and architects, and working for some of them (including a Paris studio which was pioneering the use of reinforced concrete for domestic residences). In 1912, he built an ambitious house for his parents. This impressed a wealthy watch manufacturer who then commissioned Jeanneret to design an imposing villa.

During the war, Jeanneret taught at his old art school, and began to theorise on the use of prefabricated housing. In 1917, he moved to Paris to work as an architect on concrete structures, but was soon devoting his time to painting. With Amédée Ozenfant, he published an anti-Cubism manifesto, and established a new artistic movement - purism. It was in the first issue of the movement’s journal - L’Esprit Nouveau - that Jeanneret took on the pseudonym Le Corbusier. In 1923, he published a collection of his essays for the journal in Vers une Architecture (Toward a New Architecture), and by the mid-1920s he was actively involved in seeing his new ideas turn to reality. With his cousin Pierre and with Ozenfant, he built the Esprit Nouveau Pavilion for the 1925 Paris International Exhibition of Modern Decorative and Industrial Arts (from which the name Art Deco originated); and in 1927 he was commissioned by a Bordeaux industrialist to build a complex of worker houses, which he realised using his ideas for modular units.

In 1928, Le Corbusier helped found the International Congresses of Modern Architecture. In 1930 he took French citizenship, and he married Yvonne Gallis. As his international reputation grew, so he travelled widely, lecturing and winning contracts not only in France, but in Brazil and Russia. During the Second World War and the German occupation of France, Le Corbusier did his best to promote architectural projects, without any success, but his first public commission in ten years came after the war with Cité radieuse, a rehabilitation project in Marseilles. This was finished in 1952, the same year he was made a Commander of the Legion d’Honneur.

Among his most famous works are Ozenfant House (1922), Villa Jeanneret (1925), Villa Savoye (1928) and the Swiss Dormitory at the Cité Universitaire (1931-32) all in Paris; the Ministry of Education and Health in Rio de Janeiro (1936), Chapelle Notre Dame du Haut, Ronchamp (1950-54), various buildings in Chandigarh, India (1952-59), the National Museum of Western Art, Tokyo (1954-59), and the Carpenter Visual Art Centre, Harvard (1964). Le Corbusier died in 1965. Further information can be found at The Corbusier Foundation, The Art Story, Wikipedia, and Biography.com.

Although an inveterate keeper of notebooks with ideas and sketches, there is no obvious evidence that Le Corbusier was a diarist as such. However, as a young man, on one of his journeys through Europe, he did keep a journal, which subsequently has been referred to as a diary. On route, he sent each diary entry back to his home town to be published in a local newspaper. On his return, he considered preparing the diary for publication but the war intervened, and it was to be more than half a century before he revisited and edited the manuscript - just before his death in fact. This was published in its original French language, and not published in English until 1987, when The MIT Press brought out Journey to the East as translated by Ivan Žaknić with Nicole Pertuiset and edited by Žaknić. In 2007, MIT Press re-issued the book. The following extracts come from the original 1987 edition.

The introduction to the French edition (as translated) is worth reproducing.

‘In 1911 Charles-Edouard Jeanneret, a draftsman in the office of Peter Behrens in Berlin, decided with his friend, Auguste Klipstein, to undertake a journey whose destination was Constantinople. From May to October, with very little money, the two friends toured Bohemia, Serbia, Rumania, Bulgaria, and Turkey.

It was then that Charles-Édouard Jeanneret discovered architecture: a magnificent play of forms in light, a coherent system of the mind. During this journey from Dresden to Constantinople, and from Athens to Pompeii, Charles-Édouard Jeanneret kept a travel diary. In it he noted his impressions, and he also executed a great number of drawings which taught him to observe and to see. From these notes he extracted articles, some of which were to be published by La Feuille d’Avis of La Chaux-de-Fonds. Later he would reassemble and complete these manuscripts to form a book. The book, Le Voyage d’Orient, was to be published by Gaspard Valette of Mercure de France in 1914. However, the war prevented that publication, and the manuscript was stored among the archives of Le Corbusier. Fifty-four years after his journey, he decided at long last to publish the book that is a testimony to his wonderment and discoveries as a young man. In July 1965 he edited the manuscript and annotated it meticulously, relying on nothing more than his memory. Here then is Journey to the East, considered by Le Corbusier to be an important and revealing document on the most decisive year of his growth as an artist and as an architect.’

In fact, although there are passages which read like a diary, the whole seems to have been worked on, making it more of a memoir than a diary. Here is one extract (with a typical illustration by Corbusier).

‘A Café
I entered it by chance: I was fleeing anywhere to escape the Bazaar. Everything is cool and quiet, for age-old trees mask the sky. Huge gray, red, or white striped linens are suspended from their four corners to tree trunks, and their bellies sag to within a few meters of the ground. The foliage diffuses circles of white light that dance upon the grayish patterns of irregularly shaped paving stones. Luxurious little wicker cages in which two divans face each other and, where the coffee is prepared, form on one side an uninterrupted boundary. Turkish houses block the view threading its way into the narrowness of a winding street. To get there, I climbed an odd stone stairway and went through a pretty gate in a high wall. Numerous benches are strewn about, creating enclosures; carpets of red, black, and yellow stripes cover them. They are deep and have a back and armrests. Yet they are not used for sitting down. After taking off one’s shoes, one sits on one’s heels. In this way one assumes a very dignified position, very neat, and this does away with our own casual habit of slouching like young revelers. The coffee is served, as you know, in tiny cups, and the tea in pear-shaped glasses. Either one costs a sou, which permits refills.

A hundred Turks converse in low voices. The water gurgles in the narghiles, and the air turns blue from the smoke. We are in the land of exquisite tobaccos, and we make extravagant use of it. Only when it is out of control do we moderate it, but Auguste practically kills himself with it. Fezzes are mixed with turbans, and the long black robes with grays and blues. Here comes an old man dressed entirely in pink, which makes him look like a small child. The old people are always personable, gay, sharp-eyed, yet never helpless; prayer provides them with such health because of the exercise it requires. So these old men always smile and slip by like ferrets with some inseparable corpous under their arms.

Over my table bloom copious blue hydrangeas; elsewhere there are roses and carnations; only two steps away I can hear the singing of a little marble fountain in Turkish rococo. Cats strut about in quest of balls of yarn, and to give you the soul of this café, I must say that the immense porch of a mosque rests its six polygonal pillars in the very midst of the benches. The capitals are carved in a very strange Spanish baroque style. Five small domes lead to an adjoining high wall, which is pierced by a high narrow door in black wood where ivory and mother-of-pearl inlays shine in a complicated linear design. Bright-colored carpets spread to the rush mats beneath the domes. The muezzin has just climbed the minaret which can be seen through the foliage, and his strident call to prayer pours out, while the mats are covered by the faithful who prostrate themselves, rise, and worship Allah.

But here is a touching note characteristic of the lofty, poetic Turkish soul: among the tables are three mounds, each a few meters high and bordered by a stone wall with a fine iron railing; a lantern hung to some tree which had sprouted there burns every night to illuminate the tombstones whose worn inscriptions no doubt recall the virtues of brave men now resting between the roots of the great sycamore which rises like their soul to heaven. They must rest here among the living, so as to familiarize them with Sweet Death. All these good old men, so nice in their childlike robes of pink, blue, or white, will come every morning to greet them and to whisper in their beards: Yes, yes, soon, we are coming, we are coming. I rejoice! . . .

This place, the café of Mahmud Pasha and the little mosque with a minaret and one single large dome that rests on four bare walls, is not far from the feverish Bazaar. Auguste and I spent many evenings there.’

Sun Dance as cosmic drama

‘If the word “art” is appropriate here, one could say that the Sun Dance is a powerful work of art; at all events, one can understand why the Red Indians never felt the need to create a great epic or the like. The manner in which they saw and experienced Nature excluded precisely every kind of fine art.’ This is Frithjof Schuon, a Swiss-born philosopher, metaphysician, poet and painter born 110 years ago today, writing in a diary he kept while living for a short while with the Sioux Indians in the United States. His diary and paintings of the Sioux were published together under the title The Feathered Sun.

Schuon was born in Basel, Switzerland, on 18 June 1907. When his father, a German musician, died, his mother took him and his brother to be near her family in Mulhouse, France, where he became a French citizen. Already as a boy he was interested in metaphysical ideas, and particularly the works of René Guénon, a French philosopher and Orientalist with whom he started a long-term correspondence. Schuon also took much pleasure in drawing and painting. After serving in the French army for 18 months, he moved to Paris where he worked as a textile designer and began to study Arabic. In 1832, he travelled to Algeria, where he met Shaykh Ahmad al-Alawi, a Sufi mystic, and was initiated into his order. Further trips to North Africa followed, including one to Egypt where he met Guénon.

Schuon again served in the French army during the Second World War, and was taken prisoner by the Germans. He was granted asylum by the Swiss and took on Swiss nationality. In 1948, he produced one of his most important written works, The Transcendent Unity of Religions, which spells out the metaphysical foundations of his religio perennis (perennial religion) ideas. The following year he married Catherine Feer, the daughter of a Swiss diplomat. Having developed friendly contacts with North American Indians who were visiting Paris in the 1950s, Schuon and his wife went together twice to visit the Plains Indians. During the first visit, the Schuons were officially adopted into the Red Cloud family of the Lakota tribe, a branch of the Sioux nation. Some years later, they were similarly adopted by the Crow medicine man and Sun Dance chief, Thomas Yellowtail.

Schuon continued to write articles and books, as well as to paint. Increasingly, he became known as a spiritual teacher, receiving many visits from religious scholars, and travelling himself widely in Europe, North Africa and the Middle East. In 1980, Schuon and his wife emigrated to the US, settling in Bloomington, Indiana. There he continued to write books - such as From the Divine to the Human, To Have a Center, Survey of Metaphysics and Esoterism - all published by the Bloomington-based World Wisdom. He also continued to write poetry, and to give spiritual direction to a community of disciples who had came from all over the world. He died in 1998. Further information can be found at Wikipedia, Frithjof Schuon, or World Wisdom. More about Schuon and his philosophy can also be found in Harry Oldmeadow’s Frithjof Schuon and the Perennial Philosophy (World Wisdom Books, 2010), available online at Googlebooks.

There is no evidence that Schuon was a diarist, however he did keep diary-like entries during his 1959 and 1963 visits to the Plains Indians (Sheridan, Wyoming and Yellowstone Park). These were published alongside a series of his paintings in The Feathered Sun: Plains Indians in Art and Philosophy (World Wisdom Books, 1990). According to Oldmeadow, over the years, and without any intention on Schuon’s part, the feathered sun became a symbol for his spiritual message. None of the entries in the published book are dated but they do read as though they were written on a near daily basis. Here are several extracts concerning Schuon’s 1959 trip.

‘We went to a place shaded by trees where there were many Indians singing, drumming and dancing, men and women all in full costume. We met Red Shirt, whose acquaintance we had made in Brussels; he introduced us to a grandson of Red Cloud - the younger one - who then took us both by the hand and led us into the circle of dancers; there he made a short speech in Lakota to introduce us to the Sioux. Then all sang a greeting song and my wife had to join in the dance with them; after this Red Cloud’s grandson (Charles) took us to his elder brother, to whom we presented my painting of the White Buffalo Cow Woman; the old man studied it carefully and after a while remarked that at that time the Pipe was still made from the bone of a deer, there were not yet any Pipes made of wood and stone.’

***

‘The whole morning I sat beside Chief Red Cloud, (James) the eldest grandson of the great chief. He recounted to me, with many slow gestures, something of the history of his tribe and explained how all the vast land around used to belong to the Lakota, how everything had been taken from them, and how Big Foot’s band had been “rubbed out” at Wounded Knee. When I was alone with him, I communicated to him the essential of what I have to say to the Indians; he nodded in ready agreement, then for a long time we remained silent. At length I said to him - for he intends soon to go to Washington - that one must insist that the Lakotas be given work on their own land, and not somewhere far away. Again we were silent for a long time. All at once he asked for a piece of paper and wrote a few words in Lakota on it; he then told me that he wished to adopt me as his brother and call me Wambali Ohitika (Brave Eagle) and my wife Onpahi Ske Win (Antelope Teeth Woman); antelope teeth, which are very precious for the Indians, correspond to our pearls.

I had to think of Black Elk Speaks, as Chief Red Cloud sat beside me on a grassy rise, with his gray braids and his wide-brimmed black felt hat adorned with beadwork and feathers - as with gestures of the hands he conjured up the old days, and pointing towards the dance ground before us, said: “At that time, there were soldiers everywhere here.”

When we were taken to see Chief Red Cloud for the first time, he more than once cast a searching, penetrating glance at me. Then suddenly he seemed to conceive a great confidence in me; this I could see quite plainly. Once he put on his wonderful leather shirt, adorned with long fringes and embroidered here and in red, and held a fan of eagle feathers in his hand; in his hair he wore a long feather, like his famous grandfather.

Before night came, we had a long talk with One Feather and his wife. Tradition was dying out everywhere, he said, but there were men who sought to keep it alive. Before the coming of the white man, the Indians had the religion of the Pipe, and this had been brought to them just as the Ten Commandments had been brought to the whites. But with his religion the white man had also introduced the devil. One devil was alcohol, another was money. Christ had been crucified, but the Indians crucified themselves on the cottonwood tree; the cross of Christ had been of oak, whereas the Sun Dance Tree was, precisely, the cottonwood; a cross section through any branch of this tree always showed a golden star.

When One Feather speaks of spiritual things, he becomes a completely different man; he then speaks slowly and softly, becomes solemn, and emphasizes his words with impressive gestures. His tremendous angular and sharply chiseled face, with the triangular eyes, then becomes altogether spiritual.’

***

‘Second day of the Sun Dance. We are also fasting. In the early morning, before sunrise, we are already in the sacred Lodge. Coming down the road in the half-light of dawn, one can hear from afar the drumming and the powerful singing.

After the greeting of the sun, the fire is allowed to die out; the dancers crouch around the embers, wrapped in their blankets and with heads bowed; they sing four songs, and after each song they blow their eagle-bone whistles four times; four is the sacred number of the Indians, deriving from the Four Directions of space, or the four quarters of the universe. These songs are altogether peaceful, rather like laments, and are sung with a restrained voice.

Today, the second day, the Sun Dance reached its dramatic climax. This second day is the most important one, it is like the heart of the sacred event. Most of the dancers had painted themselves, which gave some of them a ghostly appearance. Their torsos were yellow, and most of them had their faces daubed with white and red spots; a few of the men had encircled their eyes with red, to make it easier to look into the sun; Yellowtail had black zigzag lines on his upper arms. The semicircle where the dancers were was now turned into a closed corridor, roofed over with little fir trees; the white cloth that shut off the corridor from the drummers and the spectators could be raised like a curtain, so that the stakes became visible. It was between these stakes that the painted dancers now stood; then the powerful drumming started up again and the dancers moved forwards and backwards, incessantly blowing their eagle-bone whistles. We sat on the rush-covered ground beside the drummers in a crowd of Indians, both men and women; during the dancing every woman received a spray of willow shoots and waved it up and down, or from side to side, in time with the drumming. At this point sick people came and stood beside the Tree in the center; the medicine man - a Ute - did various things in order to transmit to them the healing blessing of the Tree; he held handfuls of leaves over their heads and stroked them with them, blew upon the sick people, worked on them with a fan of eagle feathers, and did other things of the kind.

The Sun Dance is a cosmic drama, indeed it is a cosmos in itself. It is without beginning and without end: it is the temporal fraction of a timeless and supernatural reality; it is as if it had fallen into time; in it everything becomes timeless, outward happening stands still. The rhythm of the drum is rhythm as such; all is rhythm and center, equilibrium and presence.

If the word “art” is appropriate here, one could say that the Sun Dance is a powerful work of art; at all events, one can understand why the Red Indians never felt the need to create a great epic or the like. The manner in which they saw and experienced Nature excluded precisely every kind of fine art.

In some of the Indians the Sun Dance seems to have become crystallized; it gives them a definitive stamp - it has in a way become congealed in them, or rather, they in it. Or again, it continues to vibrate in them, its rhythm is their life.’

The magnificent Sahara

‘Now that the torrid heat of summer has suddenly come again, now that Algiers lies in a glaring daze once more by day, the notion that I am back in Africa is slowly sinking in. Soon I will feel completely at home, especially if my plan to go to Bou Saada comes off. . . Oh, that journey! It will mean a brief return, not to the magnificent Sahara itself, but to a place nearby that has all the palm trees and sunshine one could want!’ This is from the diary of Isabelle Eberhardt, born in Switzerland 140 years ago today, but who only found peace when living in North Africa, wearing men’s clothes, and having converted to Islam.

Eberhardt was born on 17 February 1877 in Geneva, Switzerland, to an odd couple: her father, Alexandre Trophimowsky, was an atheist, anarchist and former Orthodox priest who had been hired as a tutor for the children of the widower General Pavel de Moerder. His aristocratic mother, Nathalie Moerder (née Eberhardt) was Moerder’s wife, some 40 years his junior. Eventually, Nathalie and Trophimowsky, who was also married, left their families, and had two children, one, Augustin, was accepted by de Moerder as his own, but, a few years later, Isabelle was registered as Nathalie’s illegitimate daughter. She grew up well tutored by Trophimowsky, and speaking several languages, including Arabic. Biographers say she disguised herself as a boy from an early age so as to enjoy more freedom, a trait not discouraged by her father.

From around 1895, Eberhardt began publishing short stories, some inspired by the letters from Augustin who had joined the French Foreign Legion and from Eugène Letord, a French officer stationed in the Sahara, who had advertised for a pen pal. Aged but 20, she traveled to North Africa with her mother, where they both converted to Islam. Soon after, her mother died, her father died also, and then a half-brother committed suicide. With family ties severed, Eberhardt called herself Si Mahmoud Saadi, began to wear Arab male attire all the time, and assumed a male personality. Residing in Paris, trying to pursue a writing career, she was offered money to return to the Sahara region and investigate the death of a friend’s husband.

By mid-1900, Eberhardt had settled in the oasis town of El Oued, some 650 miles southeast of Algiers, close to the border with Tunisia, but she made little headway with the investigation. However, she fell in love with an Algerian soldier, Slimène Ehnni, and they were soon living together openly. The French authorities began to suspect Eberhardt of being a spy or an agitator, and Ehnni was posted away, some 300km north. Eberhardt also became involved with a Sufi order, the Qadiriyya, and, in early 1901, at one of its meetings was attacked by a man with a sabre. She suspected her attacker had been hired by the French authorities, who, eventually expelled her from North Africa. In June the same year, she was allowed to return to Algeria briefly to give evidence against her attacker, who, she said, she forgave.

Back in France, Eberhardt lived with her brother Augustin and his wife, worked alongside him as a dock labourer, and continued writing. Ehnni, meanwhile, was reposted, this time to near Marseilles, where he was free to marry Eberhart (earlier, in Algeria, they had been denied permission to marry). In early 1902, Ehnni completed his military service, and the couple returned to Bône, Algeria, to live with Ehnni’s family, at first, and then in Algiers. There Eberhardt worked for the newspaper Al-Akhbar, publishing stories, including serialised chapters of her novel Trimardeur. In mid-1903, she was sent to report on the aftermath of the Battle of El-Moungar, and became friendly with a French officer, for whom she may have engaged in some kind of spying activity. She fell ill with fever, and travelled to Aïn Sefra to recuperate. Ehnni joined her there, and they rented a mud hut. When a flash flood struck, Ehnni escaped, but Eberhardt was killed - only 27 years old. Further information is available at Wikipedia, Pathos, Rejected Princesses, Atlas Obscura or from a biography review at The New York Times.

Eberhardt’s diaries - three cardboard notebooks and a small linen volume - were first translated by Nina de Voogd and published in English by Virago in 1987 as The Passionate Nomad: The Diary of Isabelle Eberhardt. More recently, in 2002, Summersdale has reissued the translation, as edited by Elizabeth Kershaw, under the title The Nomad: The Diaries of Isabelle Eberhardt. The book’s introduction can be read online here; and for a short review see The Guardian. According to Kershaw, Eberhardt used her diaries ‘for observation and introspection; to record literary ideas; as a ledger and as a portable library of copied material from her favourite writers’. Here are several extracts.

27 May 1900
‘Geneva. Back to this gloomy diary of mine in this evil city in which I have suffered so much. I have hardly been here a week and once again I feel as morbid and oppressed as I used to in the old days. All I want to do is get out for good.

I went to have a look at our poor house, with the sky low and sunless; the place was boarded up, mute and lost amongst the weeds. I saw the road, white as ever, white like a silvery river, straight as an arrow, heading between those tall, velvet trees for the Jura’s great mountaintops.

I saw the two graves in that faithless cemetery, set in a land of exile, so very far away from that sacred place devoted to eternal repose and everlasting silence . . . I feel that I have now become a total stranger in this land, and tonight I feel an unfathomable and indescribable sadness, and increasingly resigned before my fate . . . What dreams, what enchantments and what raptures does the future still hold in store for me? What dubious satisfactions, and what sorrows?

And when will the clock strike the hour of deliverance at long last, the hour of eternal rest?’

8 June 1900
‘Over there in Africa, above the great blue gulf of unforgettable Annaba, the graveyard on the hill is asleep under the blazing sky of a summer day’s sunset. The white marble tombs and those made of glazed and multicoloured tiles must look like bright flowers among the tall, black cypresses, creepers and geraniums the colour of blood or pale flesh, and fig trees from the Barbary Coast. . .

At that same moment, I was sitting in the low grass of another graveyard. As I sat facing the two grey tombs set among the spring weeds, I thought of that other grave, the White Spirit’s resting place . . . And in the midst of all that indestructible nature, my thoughts turned once again to the mystery of the end of people’s lives.

Birds sang their innocent, peaceful song above the untold amount of human dust accumulated there . .

So far, this diary can be summed up as follows: an endless record of the unfathomable sadness there is at the bottom of my life, it consists of increasingly vague allusions, not to people I have met or to facts that I have observed, but to the invariably melancholy effect these facts and people have upon me.

How useless and funereal are these notes of mine, and how despairingly monotonous, without even the slightest hint of lightness or of hope. The only consolation they contain is their increasing Islamic resignation.

At long last I do find that my soul is beginning to show signs of indifference to pedestrian things and people, which means that my strength is on the increase. I find it contemptible and unworthy of myself that for so long I have put so much store by pitiful things and by futile, meaningless encounters. At long last, the realisation that I am utterly incapable of joining any coterie whatsoever, and of feeling at ease with people whose only reason for being together is no mere happenstance but rather the fact that they share their lives.

For the time being at least I know what I want: I would like it if Archivir understood the things I said and wrote to him. I would like him to smile at me as only he can, to hear him tell me in that tone of voice of his, the way he did the day I came so close to baring my soul: “Go Mahmoud, and do great, magnificent deeds . . . Be a hero . . .”

It is true that of all the men I have come across, this one, whose beloved picture I have in front of me, is the most bewitching of all, and that his charm is of the most elevated and noble sort: he speaks to the spirit rather than to the senses, he exalts whatever is sublime and stifles the base and lowly. No one has ever had such a truly beneficial effect upon my soul. No one has ever understood and bolstered those blessed manifestations that, since the White Spirit’s death, have slowly but surely begun to take root in my heart: faith, repentance, the desire for moral perfection, the longing for a reputation based on noble merit, a sensuality that makes a mockery of my suffering and abnegation, a thirst for great and magnificent deeds. I judge and love him for what I have seen of him so far.

Time will tell whether I have been perceptive, whether I have seen him as he really is, or whether I have made another mistake. I will not swear to anything, but nothing has so far given me reason for suspicion, even though I have become terribly, incurably wary. If he is but another dissembler and a sham . . . that will be the end of it once and for all, for if what I hold to be pure turns out to have a hidden blemish, if what looks to me like true beauty masks the usual horror, if the light I take to be a beneficial star showing me the way or a beacon in life’s black maze is but a trick meant to lead wayfarers astray - if so, what can I expect after that? Yet, once again, nothing, absolutely nothing has so far suggested there might be anything to such unthinkable conjecture ... if he is the way I think he is, he may well put me through terrible but magnificent paces . . . he may well turn out to be responsible for sending me off to die, but spare me the worst of fates, namely disillusionment.’

1 December 1900
‘El Oued, at the house of Salah ben Taliba. The beginning of this month of December is curiously reminiscent of the same time in that deadly year of 1897. Same weather, same violent wind lashing against my face. In those days, though, I had the vast, grey Mediterranean for a horizon, breaking furiously against the black rocks with a deafening, cataclysmic sound. I was still so young, and even though recently bereaved, I still had a full measure of joie de vivre.

Since then, however, everything has changed, everything; I have aged and matured thanks to this strange destiny of mine.

Yes, everything has changed indeed. Augustin has found his haven at long last, and it does look as if he is meant never to leave it again. After all those ups and downs and twists of fate have settled down at last, however oddly.

I could never be content with the genteel pleasures of city life in Europe. My idea of heading for the desert to satisfy my need for both adventure and peace required courage, but was inspired. I’ve found domestic happiness, and far from diminishing, it seems to grow stronger every day.

Only politics threatens it . . . But alas! Allah alone knows what is hidden in the sky and the earth! and no one can predict the future.

Barely two weeks ago I went to meet my beloved in the night, as far as the area south of Kouïnine. I rode Souf in a darkness so dense it made my head spin.

Lost my way several times. Had strange impressions down in those plains, where the horizon seems to rise in the shape of dunes, and villages look like hedges made of djerid.

I was thinking about the passage in Aziyade about Istanbul graves lit by dim and solitary lights, when I suddenly spotted the gate to the Teksebet cemetery’s dome.

Every afternoon for several days in a row I have been along the road to Debila, either with Khalifa Taher or by myself. One day, as I was on a solitary outing, I had a strange feeling of familiarity [i], of a return to a past that was dead and buried. Going through the shott I stopped my horse beneath the palm trees. I closed my eyes, and listening to the sound of the wind rustling in the foliage, I was off in a dream. I felt as if I were back in the big woods along the Rhone and in the Parc Sarrazin on a mellow summer evening. The illusion was almost perfect. It was not long before a sudden movement of Souf’s brought me back to reality, though. I opened my eyes . . . an endless succession of grey dunes rolled out before me, and above my head the foliage rustled on the tough djerids.

At the foot of the dune behind our house, next to an enclosure containing three low palm trees, stands a small African-looking mosque built of ochre-coloured plaster that looks like mud. It only has a tiny, fortified dome, a koubba, ovoid in shape. Behind it stands a splendid date palm which, seen from our rooftop, seems to grow out of the koubba itself.

Yesterday, I went up there at maghreb time. In the blaze of the setting sun I could see grey silhouettes drenched in scarlet light move by the post office in the distance. While the little dome seemed to be on fire and the muezzin’s slow and languorous voice recited the evening prayer in the direction of every corner in the sky, men came down the dune on my right-hand side in the splendour of that melancholy hour.

Poignant memories of the end of the White Spirit’s life have come to haunt me these last few days.’

9 February 1901
‘Around five o’clock this afternoon, Abdallah ben Mohammed [her attacker] was put in a prison cell. I saw him arrive and studied him while he was being searched by soldiers . . . I had a profound feeling of pity for this man, the blind instrument of a destiny whose meaning he does not understand. And seeing that grey silhouette, standing with his head bowed, flanked by the two blue uniforms, I had perhaps the strangest and deepest impression I have ever experienced of mystery.

Much as I search my heart for hatred towards this man, I cannot find any. Even less contempt. What I do feel for him is curious: it seems to me that I am close to an abyss, in the presence of a mystery whose last word - or rather whose first word - hasn’t yet been spoken, and which would contain the whole meaning of my life. As long as I do not know the key to this enigma - and shall I ever know it! God alone knows - I shall not know who I am, or what is the reason or explanation of my destiny, one of the most incredible there has been. Yet, it seems to me that I am not meant to disappear without having plumbed the depths of this enigma, from its strange beginnings to the present.

“Madness,” sceptics will say, who like easy solutions and have no patience with mystery. They are wrong, because to see the chasms that life conceals and that three-quarters of the population don’t even suspect exist cannot be treated as folly, in the same way that an artist’s descriptions of sunset or of a stormy night would seem ridiculous to a man born blind.

If the strangeness of my life were the result of snobbery of a pose, yes, then people could say, “She brought those events on herself”, but no! No one has ever lived more from day to day and by chance as I have, and it is very much the events themselves, inexorably linked to one another, which have brought me to where I am and absolutely not me who has created them. Perhaps the strange side of my nature can be summed up in a single trait: the need to keep searching, come what may, for new events, and flee inertia and stagnation.’

8 June 1902
‘Life goes on, monotonous as ever, yet there is the hint of some future direction in the midst of all this dreadful emotional turmoil. I am going through another slow period of gestation, which can be quite painful at times. I am beginning to understand the character of the two people, Barrucand and Mme ben Aben, who have helped us here, both of them good people and very tactful. Barrucand, a dilettante in matters of thought and in particular of sensations, and a moral nihilist, is, however, a man who is very positive, and knows how to live. Mme ben Aben is the second woman I have known after my mother who is good to the core, and enamoured with ideals. Yet in real life, how ignorant the two women are! Even I, as someone intimately convinced that I do not know how to live, even I know more than they do.

Augustin is now gone from my life. As far as I am concerned the brother I used to love so much is dead. That shadow of him in Marseilles who is married to ‘Jenny the work-horse’ does not exist for me, and I very rarely think of him.

Now that the torrid heat of summer has suddenly come again, now that Algiers lies in a glaring daze once more by day, the notion that I am back in Africa is slowly sinking in. Soon I will feel completely at home, especially if my plan to go to Bou Saada comes off. . . Oh, that journey! It will mean a brief return, not to the magnificent Sahara itself, but to a place nearby that has all the palm trees and sunshine one could want!’

31 January 1903 [the last entry]
‘Bou Saada. We arrived here from El Hamel yesterday at three in the afternoon.

Every time I see Lella Zeyneb I feel rejuvenated, happy for no tangible reason and reassured. I saw her twice yesterday in the course of the morning. She was very good and very kind to me, and was happy to see me again.

Visited the tomb of Sidi Muhammad Belkassem, small and simple in that large mosque, and which will be very beautiful by the time it is finished. I then went on to pray on the hillside facing the grave of El Hamel’s pilgrim founders.

I did some galloping along the road, together with Si bel Abbes, under the paternal gaze of Si Ahmed Mokrani. Some women from the brothel were on their way back from El Hamel. Painted and bedecked, they were rather pretty, and came to have a cigarette with us. Did fantasias in their honour all along the way. Laughed a lot. . .

The legend of El Hamel’s pilgrims appeals to my imagination. It must be one of Algeria’s most biblical stories . . .

I began this diary over in that hated land of exile, during one of the blackest and most painfully uncertain periods in my life, a time fraught with suffering of every sort. Today it is coming to an end.

Everything is radically different now, myself included.

For a year now I have been on the blessed soil of Africa, which I never want to leave again. In spite of my poverty, I have still been able to travel and explore unknown regions of my adoptive country. My Ouïha is alive and we are relatively happy materially.

This diary, begun a year and a half ago in horrible Marseilles, comes to an end today, while the weather is grey and transparent, soft and almost dream-like here in Bou Saada, another Southern spot I used to yearn for over there!

I am getting used to this tiny room of mine at the Moorish bath; it is so much like me and the way I live. I will be staying here for a few more days before setting off on my journey to Boghar, through areas I have never seen; living in this poorly whitewashed rectangle, a tiny window giving out on the mountains and the street, two mats on the floor, a line on which to hang my laundry, and the small torn mattress I am sitting on as I write. In one corner lie straw baskets; in the opposite one is the fireplace; my papers lie scattered about . . . And that is all. For me that will do.

There is no more than a vague echo in these pages of all that has happened these last eighteen months; I have filled them at random, whenever I have felt the need to articulate. . . For the uninitiated reader, these pages would hardly make much sense. For myself they are a vestige of my earlier cult of the past. The day may come, perhaps, when I will no longer record the odd thought and impression in order to make them last a while. For the moment, I sometimes find great solace in rereading these words about days gone by.

I shall start another diary. What shall I record there, and where shall I be, the day in the distant future when I close it, the way I am closing this one today?

“Allah knows what is hidden and the measure of people’s sincerity!” ’

A wish or a curse

‘Each word is a wish or a curse. One must be careful not to make words once one has acknowledged the power of the living word. The artist’s secret lies in fear and awe. Our times have turned them into terror and dismay.’ This is Hugo Ball, born 130 years ago today, writing in his diary just months, in fact, before he founded Cabaret Voltaire where, famously, the anarchic art movement Dada would soon emerge.

Hugo Ball was born in Pirmasens, near the German border with France, on 22 February 1886, and raised by a middle-class Catholic family. He studied sociology and philosophy at the universities of Munich and Heidelberg, becoming interested in Nietzsche and writing plays, before moving to Berlin to study acting at Max Reinhardt’s drama school. Having worked for a short while as a stage manager, he was back in Munich by 1912, where he came into contact with the Blaue Reiter circle, and became critic-playwright at the Kammerspiele Theatre.

Around this time, Ball met a number of people who would have an influence on his life: Emmy Hennings, an actress and singer whom he would marry in 1920; Richard Huelsenbeck with whom he would open the Cabaret Voltaire; Hans Leybold, a young student radical, with whom he launched a new magazine, Revolution, though the first issue was confiscated by censors; and Wassily Kandinsky, the greatest of the Expressionist painters in the Munich circle.

In 1914, Ball applied for military service but was turned down several times. Impatient to experience war, he made a trip to Belgium. Appalled by what he saw, he turned pacifist, antiwar protester and anarchist. Soon after, he moved with Hennings, to Zurich, in neutral Switzerland, where the couple lived as unregistered aliens, unable to get work. It is thought, Ball tried to commit suicide at this point.

Nevertheless, things began improving for Ball. In 1916, he was able to get work as a touring pianist, but he also continued working on a book about German culture, and writing poems. His beliefs were shifting from anarchism towards mysticism, and he began experimenting with drugs. In 1916, back in Zurich, he opened Cabaret Voltaire, which served as the breeding ground for the Dada movement. In July of the same year, Collection Dada issued its first volume of writing (by the youngest member of the Zurich movement, Tristan Tzara). The following year Ball and Tzara opened Galerie Dada.

Ball’s involvement with Dada was short-lived. He left the movement and moved to Bern, to work as a journalist, and he published Zur Kritik der deutschen Intelligenz, a strident attack on German politics and culture. He then journeyed back, spiritually speaking, to Catholicism, and a couple of years later, published Byzantinisches Christendom. 

For the last years of his life, Ball lived relatively quietly and poorly, in the Canton of Ticino, southern Switzerland, with occasional trips to Italy. He became friends with Herman Hesse, who also lived in Ticino. Indeed, one of Ball’s last works was a study of Hesse (see also the recent post - Love of humanity). Ball died in 1927, aged only 41. Further biographical information can be found  at Wikipedia, the Dada Companion, or National Gallery of Art (Washington DC).

For a while, during his early and difficult days in Zurich, Ball kept a diary of sorts, in which he jotted down philosophical musings. These were were first published by Viking Press, New York City, in 1974 as Flight Out of Time: A Dada Diary. The text was edited by John Elderfield and translated by Ann Raimes. More recently, in 1996, University of California Press has reissued the book with a few additions. Parts of the book are available to read online at Googlebooks or Scribd.

18 September 1915
‘The collapse is beginning to take on gigantic dimensions. We will not be able to use the old idealistic Germany as a basis any more either, so we will be completely without any basis. For the devout Protestant-enlightened Germany of the Reformation and the Wars of Liberation produced an authority, and one could say that this authority confused and destroyed the last opposition to the animal kingdom. That whole civilization was ultimately only a sham. It dominated the academic world enough to corrupt the common people too; for even the people approved of Bethmann’s words about necessity knowing no law; in fact, the Protestant pastors were the most unhesitating spokesmen and interpreters of this degrading slogan.’

20 September 1915
‘I can imagine a time when I will seek obedience as much as I have tasted disobedience: to the full. For a long time I have not obeyed even myself. I refuse to give ear to every halfway reasonable or nobler emotion; I have become so mistrustful of my origin. So 1 can only confess: I am eager to give up my Germanity. Is there not regimentation, Protestantism, and immorality in each of us, whether we know it or not? And the deeper it is, the less we know it?’

25 September 1915
‘The philosophy with which the generals try to justify their actions is a coarse version of Machiavelli. The peculiar words of the language of government (and unfortunately not only of the language of government) go back to a stale Renaissance ideal: the “right of the stronger,” the “necessity that knows no law,” the “place in the sun,” and other similar terms. Machiavellianism, however, has ruined itself. The Machiavellians are being called by their true name; the articles of the law are being remembered and used against them. Machiavellian wars in old Europe no longer succeed.

There is, in spite of everything, a folk morality. Frederick II’s saying “When princes want war, they begin one and call in a diligent lawyer who proves that it is right and just” is being rejected. How might a man feel, how must he live, when he feels he belongs, and when he seems disastrously willing to apply all kinds of adventure, all con- fusion of problems and offenses to his own unique constitution? How could a person assert himself if he is someone whose fantastic Ego seems to be created only to receive and suffer the scandal, the opposition, the rebellion of all these released forces? If language really makes us kings of our nation, then without doubt it is we, the poets and thinkers, who are to blame for this blood bath and who have to atone for it.’

4 October 1915
‘I tend to compare my own private experiences with the nation’s. I see it almost as a matter of conscience to perceive a certain parallel there. It may be a whim, but I could not live without the conviction that my own personal fate is an abbreviated version of the fate of the whole nation. If I had to admit that I was surrounded by highwaymen, nothing in the world could convince me that they were not my fellow countrymen whom I live among. I bear the signature of my homeland, and I feel surrounded by it everywhere I go.

If I ask myself in the dead of night what the purpose of all this might be, then I could well answer: So that I might lay aside my prejudices forever. So that I might experience the meaning of what I once took seriously: the backdrop. So that I might detach myself from this age and strengthen myself in the belief in the improbable.

The naiveté of those people who are afflicted with incurable diseases and are treated for rationalism. There is no doubt that it is a great time - for a healer of souls.’

25 November 1915
‘Each word is a wish or a curse. One must be careful not to make words once one has acknowledged the power of the living word.

The artist’s secret lies in fear and awe. Our times have turned them into terror and dismay.

People who live rashly and precipitately easily lose control over their impressions and are prey to unconscious emotions and motives. The activity of any art (painting, writing, composing) will do them good, provided that they do not pursue any purpose in their subjects, but follow the course of a free, unfettered imagination. The independent process of fantasy never fails to bring to light again those things that have crossed the threshold of consciousness without analysis. In an age like ours, when people are assaulted daily by the most monstrous things without being able to keep account of their impressions, in such an age aesthetic production becomes a prescribed course. But all living art will be irrational, primitive, and complex; it will speak a secret language and leave behind documents not of edification but of paradox.’

Art but no artists

Rainer Maria Rilke, one of most intense of German-language poets and considered by some to be a founder of modern literature, was born 140 years ago today. During a two year period - when he was in love with the married Russian-born Lou Andreas-Salomé and then meeting his future wife Clara Westhoff - he kept a series of diaries. The editors of the English edition of these diaries claim they span a crucial period in the artistic growth of the young poet.

René Maria Rilke was born in Prague, then part of the Austro-Hungarian empire, on 4 December 1875. His father worked as a railway official having retired from the military, and his mother was considered socially ambitious. René’s childhood was not especially happy, and he was sent to military academy for five years until 1891. He left on account of ill health, only to find his parents had separated. He was tutored for university entrance, and then began studying philosophy at Charles-Ferdinand University. But, by this time, he had already published a first volume of poetry, Leben und Lieder, and was intent on a literary career. Disenchanted with his academic studies, he left, travelling to Munich to study art. There he mixed with artistic types, managed to get some of his plays produced, and published more poetry.

In 1897, Rilke fell in love with the much-travelled Lou Andreas-Salomé, a married woman many years his senior. She appears to have had a major influence over the still-young Rilke, persuading him to change his first name to Rainer, and introducing him to the ideas of psychoanalysis (she had studied with Freud). He travelled to Florence for a few weeks, then twice with Salomé to Russia, meeting Leo Tolstoy in 1898, and Boris Pasternak and Spiridon Drozhzhin, a peasant poet, in 1899. The following year, Rilke stayed at the artists’ colony at Worpswede, where he met Clara Westhoff. They married early in 1900, and had one daughter, Ruth, in late 1901.

In 1902, Rilke travelled to Paris, where he would stay for much of the rest of the decade. Clara left Ruth with her parents and joined him there. He became fascinated by Rodin, writing and lecturing on the sculptor, and even acting as his secretary for a period, and later by Cezanne. Apart from two or three more collections of poetry, he also completed his only novel The Notebooks of Malte Laurids Brigge. He began to visit Ronda in Spain, and also Trieste in Italy, but the outbreak of WWI found him in Germany and unable to return to Paris. He managed to avoid active service, with the help of influential friends, by being assigned to the War Records Office.

After the war, Rilke moved to Switzerland, where he wrote his last two works, Duino Elegies and the Sonnets to Orpheus. He died of leukemia late in 1926, highly respected in literary and artistic spheres but barely known by the general public. The Poetry Foundation provides this modern assessment: ‘Widely recognized as one of the most lyrically intense German-language poets, Rainer Maria Rilke was unique in his efforts to expand the realm of poetry through new uses of syntax and imagery and in the philosophy that his poems explored.’ While Encyclopaedia Britannica (1979 edition) calls him ‘a major Austro-German poet regarded as one of the founders and giants of modern literature.’ Further information can be found at Wikipedia, the Academy of American Poets, The Atlantic, or Picture Poems. For samples of Rilke’s poems see All Poetry.

Between April 1898 and December 1900, Rilke kept three diaries. The first of these, while in Florence, was probably written for or inspired by Salomé, since it is known that her own mental regimen included keeping a diary, and she is said to have asked Rilke to bring her back a diary. Biographers suggest the second diary, kept after his return to Schmargendorf, might also have been written with her in mind. The third diary was written during his sojourn at Worpswede. (However, it is worth noting that despite the diary names, Rilke visited Worpswede during the time of the Schmargendorf diary, and stayed at Schmargendorf during the time of the Worpswede diary.) They were first edited and published in German in 1942 by Ruth and her husband Carl Sieber.

A first English edition, translated and annotated by Edward Snow and Michael Winkler, was published by W. W. Norton & Co in 1997 - Rainer Maria Rilke - Diaries of a Young Poet. In their introduction, Snow and Winkler explain: ‘Rilke’s diaries do maintain a certain chronological flow, albeit one with breaks and longer interruptions, but they are not directly the immediate account of a specific time; it is not their intent to record the minutiae of day-to-day life. For this reason they have not become identified by their chronology. Rather, they are usually titled after three places where Rilke lived and, at least for a time, felt at home: Florence (and the Tuscan countryside), the village of Schmargendorf just outside Berlin, and Worpswede, an artists’ colony in the moors near Bremen.’

The editors claim that the diary period spans a crucial period in Rilke’s artistic growth: ‘At the beginning of this phase the young poet had perfected, if not yet exhausted the rhetorical techniques and mannerisms of his early, impressionistic style. His verse was still prone to the gossamer and was given more to a flirtation than a sustained artistic engagement with the exquisite and the delicate. [. . . He] had come to realise only too well that he needed to constrain his busy games of make-believe and learn how to control his ingenious lyricism. This made it necessary, most of all, to free himself from the rapturous self-indulgence that could spin mellifluous lines and intricate rhymes with prolific ease. He had to submit himself to the kind of self-discipline that comes with the ascetic solitude of regular, arduous work. Rilke’s three early diaries reflect this search for a language that might capture the specificity of things natural and crafted and at the same time convey their intrinsic spirituality. They chronicle, in other words, the emergence of the “sachliche Sagen,” the objective and visually precise language that will come to characterise his “poetry of things.” ’

Although diary entries - many dated but not all - do predominate in Diaries of a Young Poet, there is also a good deal of poetry as well as some letters. The book can be previewed online at Googlebooks. Here, though, is one extract from each diary.

17 May 1898 [Florence diary]
‘No human being can raise so much beauty out of himself that it will cover him over completely. A part of himself will always gaze out from behind it. But in the peak times of art a few have erected before themselves, in addition to their own beauty, so much noble heritage, that the work no longer needs them. The curiosity and custom of the public will seek and of course find their personality; but that misses the point. In such times there is an art, but there are no artists.

There is an ever-recurring cycle of three generations. One finds the god, the second arches the narrow temple over him and in doing so fetters him, while the third slides into poverty and takes stone after stone from the sanctuary in order to build meagre and makeshift huts. And then comes one which must seek god again; and to such a generation these belonged: Dante and Botticelli and Fra Bartolommeo.

The element of reconciliation and loveliness that one treasures in the works of Raphael is a triumph that only seldom occurs; it signifies a high point of art, but not a high point of the artist.

Pre-Raphaelites: simply a caprice. Tired of smooth beauty, one seeks the effortful - not so? How facile a proposition! Tired of art, one seeks the artist, and in each work looks for the deed that elevated the man, the triumph over something within him, and the longing for himself.

In notes jotted down day after day vis-a-vis the paintings of the quatrocento, I could have offered nothing more than the tourists’ handbooks do. For they have formulated with unsurpassable cogency the measure of abstract beauty that inheres in the things. So much so that in fleeting consideration one employs quite unconsciously those infamous half-scientific terms that, once sharp and pregnant, have through so many mindless uses become dull and vacuous.

A handbook on Italy, if it wanted to teach pleasure, would have in it but one single word and one single piece of advice. Look! Whoever has a certain culture in him must make do with this guidance. He will not acquire pearls of knowledge and it will scarcely occur to him to ask whether this work is from the late period of an artist or whether in that work “the broad manner of the master” holds sway. But he will recognize an abundance of will and power that came from longing and from apprehension, and this revelation will make him better, greater, more thankful.’

11 September 1900 [Schmargendorf diary]
‘A fine evening at the Overbecks’. The blond painter was with me for the length of the twilight; I showed her some Russian books, the pictures of Nadson and Garshin, Droshin’s portraits, and other mementos. In the evening she sat next to me, and there was much conversation between us. The table was nicely set; small chamomiles slanted to one side framed the simple white runner, which was accented by blue-and-red-embroidered signatures of guests who had preceded us. Dr. Hauptmann and I added our names to this roll. Hauptmann was in rare form, made many cutting remarks regarding the temper of our time, always in the most charmingly ingenuous way. [. . .]

Clara Westhoff had come on her bicycle, But she walked almost the whole way back to Westerwede, since while we were talking I had passed by my gate and continued on at her side. It was about two hours past midnight. The skies were gray, quiet, and the landscape could be seen, completely without color, stretching far in the distance . . . The birch trees stood like candles beside long trails. The only thing white was a white cat, which would appear from behind the bushes in silent leaps, then vanish in the mistless meadows. It was a melancholy cat that staged a solitary dance. In the garden everything green was a shade darker. Almost black, the full bushes leaned against the white railing of the forecourt. Around the urns there was depth and air.’

14 December 1900 [Worpswede diary]
‘Sometimes I remember in exact detail things and epochs that never existed. I see every gesture of people who never lived a life and feel the swaying cadence of their never-spoken works. And a never-smiled smiling shines. Those who were never born die. And those who never died lie with their hands folded, repeated in beautiful stone, on long level sarcophagi in the halflight of churches no one built. Bells that never rang, that are still uncast metal and undiscovered ore in mountains, ring. Will ring: for what never existed is what is on its way, on its way over to us, something in the future, new. And perhaps I’m remembering distant futures when what never existed rises up in me and speaks.’

My guiding darkness

‘Perversion interests me most and is really my guiding darkness . . . I love to write of cruel deeds.’ This is Patricia Highsmith, who died 20 years ago today, confiding in a youthful diary about a preoccupation that would come to dominate her writing, and, indeed, inspire her to produce some of the most popular psychological crime stories of the 20th century. The detailed diaries, meanwhile, have proved a rich resource for biographers of her troubled life, but as yet have not been published.

Mary Patricia Plangman was born in Fort Worth, Texas, in 1921, the child of artists who divorced before she was born. Her mother soon married Stanley Highsmith, and the family moved to New York. She studied English composition at Barnard College, and found work at a comic publishers. Turning freelance allowed her to earn more money and to write her own short stories. She lived for a while in Mexico.

Highsmith published her first novel - Strangers on a Train - in 1950, to modest success. The famous film maker, Alfred Hitchcock, adapted the story in 1951, and the movie’s success rubbed off on Highsmith. Her second novel, The Price of Salt, a lesbian romance published under a pseudonym, Claire Morgan, came out in 1952. The Talented Mr. Ripley, probably her most famous novel nowadays, emerged soon after, in 1955. Many other psychological thrillers followed, but it was not until 1970 that she returned to Ripley, eventually completing five novels (the Ripliad) about her compelling anti-hero.

Highsmith never settled down for long with a partner, male or female, though she had many affairs. Her private life was constantly troubled, she moved around a lot, living in various parts of Europe. She drank and smoked to excess, and the older she got the more she preferred the company of cats (and snails, apparently!), while colleagues found her misanthropic and even cruel. For the last 14 years of her life she lived in Switzerland. She died there on 4 February 1995. Her archives are stored at Swiss Literary Archives in Bern - see also Swiss Info.

Further biographical information is available from Wikipedia and Kirjasto, or from two biographies, available to preview through Googlebooks: Beautiful Shadow: a Life of Patricia Highsmith by Andrew Wilson (Bloomsbury, 2003) and The Talented Miss Highsmith: The Secret Life and Serious Art of Patricia Highsmith by Joan Schenkar (St Martin’s Press, 2009). See also reviews of the former at The Guardian, The Telegraph, The New York Times; a review of the latter by Jeannette Winterson also at The New York Times, and an article by Schenkar at The Paris Review.

One of many extraordinary things about Patricia Highsmith was an obsession with documenting her own life. Having decided not to destroy her diaries, she left behind some 8,000 handwritten pages, in 37 work notebooks or cahiers (1938-1992), and 18 personal diaries (1940-1984). Although none of these diaries has yet been published - surely they must be in time - they have been mined thoroughly by the biographers, Wilson and Schenkar.

Wilson’s biography - which is generally rated more highly than Schenkar’s - refers to Highsmith’s diaries constantly, and always provides the exact source (i.e. whether from a cahier or a private journal, and with the exact date). However, he rarely provides any complete or long quotations from the diaries, choosing instead to incorporate phrases within his own text.

Here is part of Wilson’s introduction: ‘Her work explores the motif of the double or splintered self. The changeable nature of identity fascinated her both philosophically and personally. “I had a strong feeling tonight . . . that I was many faceted like a ball of glass, or like the eye of a fly.” [14 February 1942] [. . .]

Her private notebooks can be seen to represent, if not an authentic self, at least an identity that is somehow more substantial than the one she chose to show to the outside world. In addition to keeping incredibly detailed diaries, she recorded her creative ideas, observations and experiences in what she called her “cahiers” or working journals. [ . . .]

Many writers’ diaries are works of self-mythology, often more fantastical than their own fiction, but after checking Highsmith’s documents with other archival sources and information gleaned from my interviews, it is clear that her private journals were written without artifice. Her voice was tormented, self-critical but, significantly, brutally honest. She kept a diary, she said, because she was interested in analysing the motivation of her behaviour. “I cannot do this without dropping dried peas behind me to help me retrace my course, to point a straight line in the darkness.” [21 September 1949] Throughout her life she toyed with the idea of burning these most personal of journals, and although she was given the opportunity to incinerate any incriminating material before her death, she only chose to destroy a few letters from one of her younger lovers.’

Here are three extracts from Highsmith’s diaries taken from Wilson’s biography.

27 August 1942
‘Perversion interests me most and is really my guiding darkness . . . I love to write of cruel deeds. Murder fascinates me . . . Physical cruelty appeals to me mostly. It is visual & dramatic. Mental cruelty is a torture, even for me, to think of. I have known too much of it myself.’

25 October 1942
‘I believe people should be allowed to go the whole hog with their perversions, abnormalities, unhappinesses, [. . .] Mad people are the only active people, they have built the world.’

18 November 1942
‘The Lesbian, the classic Lesbian, never seeks her equal in life. She is . . . the soi-disant male, who does not expect his match in his mate, who would rather use her as the base-on-the-earth which he can never be.’

Finally, it is worth noting that one of Highsmith’s novels is about a diary - Edith’s Diary (1977). Unlike many other novels written in diary style, Edith’s Diary is much more fundamentally about the diary form. As Edith Howland’s life becomes harsh, a promotional blurb explains, her diary entries only become brighter and brighter: ‘She invents a happy life. As she knits for imaginary grandchildren, the real world recedes. Her descent into madness is subtle, appalling, and entirely believable.’

Editor’s note: As usual for Diary Review articles, trailing dots within square brackets, i.e. [. . .], indicates that I have removed some text from within a quoted extract. Trailing dots without square brackets indicates that those trailing dots can be found in the quoted text (and may, or may not, indicate text removed by that text’s editor).

A splendid liquid sky

One hundred and twenty years ago today died John Addington Symonds, a writer remembered largely for leaving behind literary works full of allusion to his secret homosexuality. He travelled frequently on the Continent, keeping diaries of his journeys, and in them he would often wax lyrical about his experiences. The diaries were used by his literary executor and friend, Horatio Brown, to write a biography, but were destroyed after Brown’s death.

Symonds was born in Bristol in 1840, the only son of a physician, and educated at Harrow School and Balliol College, Oxford, where he won the Newdigate prize with a poem The Escorial. In 1862 he was elected to an open fellowship at Magdalen but his health broke down, perhaps because of rumours he was having an affair with a male student, and he travelled to Switzerland to recuperate. On returning to London in 1864, he married Janet Catherine North. During the following five years she gave birth to three daughters. However, the couple appear to have led fairly separate emotional lives, with Symonds always pursuing young men as soul mates. In the second half of the 1860s, he had further mental problems, and travelled to the Continent again.

In 1867, Symonds moved to Bristol, where he did some lecturing. It is only in the 1870s, that he began to publish significant volumes, many on poetry, such as An Introduction to the Study of Dante and Studies of the Greek Poets. In 1875, Catherine gave birth to their fourth daughter. Symonds major work, Renaissance in Italy, was published in several volumes, starting in the early 1880s. He also wrote a book called A Problem in Greek Ethics which is today given the title Male Love, as well as biographies of Shelley, Jonson and Michelangelo. He died on 19 April 1893. Further information is available from Wikipedia, NNDB, Rictor Norton’s web pages, or the Dictionary for Art Historians.

Symonds also kept diaries and wrote memoirs, all of which he handed to his literary executor, Horatio Brown. Subsequently, Brown wrote a biography of Symonds - John Addington Symonds, a biography published first by J. C. Nimmo in 1895, readily available at Internet Archive - using many extracts from the diaries. After Brown’s death, though, the diaries were destroyed. Here are several of those extracts, as culled from Brown’s biography, the first few from 1861, when Symonds was still a young man and travelling with his father, and the last from over a quarter of a century later.

27 January 1861
‘Breakfasted with L. Stanley, and had an amusing party. Met Owen - old Balliol man, returned from Bombay College - Wordsworth, Green, Jackson, Ford, Wright, White, Bethel. Talked about “Essays and Reviews,” and the storm brewing for them; about Jowett’s parentage - Ford knows his mother and sister slightly, they live at Torquay; then of De Quincey, without some allusion to whom I hardly remember any intellectual Oxford breakfast go off; then about historic portraits - Wycliffe’s at Balliol, Chaucer’s from an old illumination, Dante’s in the Arundel Society’s publications. Sat on till 11.15. I went and wrote a long letter to papa about myself.’

16 June 1861, Macon
‘We left at five for Geneva, where I now am. The journey from Amberieu to Belle Garde was extremely fine. It winds through a pass cut by the Rhone, between Jura and some other mountains. After breaking fast we drove out to see Geneva. First we went to the cathedral, a small and symmetrical building of most interesting transition Romanesque. It has curious specimens of the use of round and pointed arch in combination, and borrows more from Roman models in the capitals than any I have seen. There is the pulpit, beneath whose sounding-board Calvin, Knox, and Beza preached. We sat in Calvin’s chair. The church is perfectly bare, and Protestant. It was more injured in five weeks of French occupation, when 10,000 men garrisoned Geneva and made it a hospital, than in its three centuries of Protestantism. A little Roman Catholic glass is still left in the windows of the apse.

17 June 1861, Hotel de L’Union, Chamonix
‘We started at seven this morning in a carriage and two horses. The journey has been one of uninterrupted beauty. The natural splendour of the country was heightened by the massy clouds which kept ever changing from peak to peak, altering the effect of light and shade, and making the distance clear and brilliant. The wild flowers are innumerable, orchids, rhododendrons, columbines, saxifrage, salvias, vetches, pinks. We broke the journey at Bonneville, where we had breakfast. Up to this point the road was comparatively tame, though behind us rose the Jura, and in front the Alps were shadowy. But at Bonneville is the very port of the Mont Blanc Alps, and of this stands sentinel the great green Mole. From Bonneville to St. Martin, the valley of the Arve is narrow, one series of vast precipices cut by rivulets and pine-clad hills on either side. At St. Martin we first saw Mont Blanc, swathed in clouds, which slowly rose and left the monarch nearly bare. He did not seem quite so huge as I expected. The amphitheatre of mountains from the bridge over the Arve is splendid; especially that corner where stands the Aiguille de Varens. Here we learned that a bridge on the road to Chamonix had been swept away by a torrent, and that no carriages could pass. However, they telegraphed for carriages to meet us on the other side of the temporary plank bridge, and we set off, through avenues of apple-trees bordering gardens of wild flowers, beneath the park-like swellings of the hills, among whose walnut-bowered hollows slept innumerable chalets. Soon the ascent began, every turn discovering some great snowpeak or green mountain furrowed with the winter streams. At the bridge we found a one-mule carriage, and continued our journey, Mont Blanc growing on us momently. As we came into the Valley of Chamonix the highest peak was very clear, and all along the bold sharp crags swaddled in clouds, and glorified by the far setting sun, were gorgeous in their brilliancy and colours. We arrived at 7.30, and got two high rooms with a good [vi]ew of the mountains.’

18 June 1861
‘About nine, M. A. Balmat, Professor James Forbes’s guide, to whom papa has an introduction, arrived. He is a pleasant, intelligent man, of about fifty, who, when he had read the Professor’s letter, greeted us warmly. He no longer acts as professional guide, but volunteered to take us about for the sake of our friendship with Mr. Forbes. Balmat is a curious instance of a man refined by the society of great and philosophic men. Having begun life as a guide, he is now the respected friend and guest of Forbes, Hooker, Murchison, and many others. Indeed, he is intimate with all the savants of Europe. We were surprised at the ease with which he spoke to us, and to the commonest people. The same bonhomie pervaded his address to both; but in the one he never fell into familiarity, nor in the other did he lose dignity. Having got alpenstocks, we set off walking to the Glacier des Boissons, which we crossed. I enjoyed picking my way among the crevasses. The glare was just what I expected, but it produced a curious effect of making the pine hills seem quite black and sombre, adding to their majesty. It is hard to estimate the height of these mountains, and this is the one disappointing thing about them. They do not displace as much sky as the summer thunderclouds, nor can we fancy that two Ben Nevises might be piled one on the top of the other below snow level (which is at the foot of the Aiguilles). However, the higher you get the more you can estimate the height above. Mont Blanc is himself so far retired that he appears small, while atmospheric differences, the want of an Alpine standard, and the size of the pine trees all tend to confuse English eyes, and lessen both height and distance. Balmat told me just the contrary of himself. In Wales and Scotland he always made mistakes, thinking, with his Alpine standard, the heights and distances much greater. He allowed some time to ascend Arthur’s Seat, and found himself immediately at the top of it.’

21 June 1861
‘We set off this morning at seven for the Flégère. Papa and I rode mules - stupid beasts, that stopped at every bush and rivulet to eat and drink. Balmat was charming through the day. He is a perfect gentleman in manners and feeling, nor is there the least affectation or parvenuism about him. When I compare him with [some] specimens of English travellers, I blush for my countrymen. Here is a guide of Chamonix, the son of a guide (who would not allow him to go to school or to learn the geology for which he has always had a passion, for fear he might leave Chamonix), whose manners are better, sentiments more delicate, knowledge more extensive, views more enlightened, than most of these soi-disant gentlemen and educated men. It is a great pity that his father would not allow him to study when young, for he might have become one of the first geologists of Europe, such fine opportunities for discovery do these mountains afford, and such an advantage his skill and intrepidity have given him. Though a mountaineer, he never brags, and is always considerate for weaker brethren like papa and me. I like very much to see him walking before our mules with his green spectacles, and old brown wideawake upon his grizzled hair, nodding kindly to the old men and women, joking with the guides, and smiling at the little children. He is patriarch of the valley, and nothing can be done without the advice of M. Balmat. After an ascent of two hours we arrived at at La Flégère, and saw before us the whole Mont Blanc range. For the first time we appreciated the height of the king himself. Now he towered above all the peaks. The names of most of the aiguilles and glaciers I knew. Balmat told us the rest in order. The Aiguille de Charmoz is still my favourite, guarding the entrance to the Mer de Glace. Here papa read ‘Come down, maid,’ from the  Princess. It was appropriate, for never were mountains better described than in that idyll.’

16 July 1862
‘The people of Milan are very unquiet to-night. They have been excited by a speech of Garibaldi, in which he denounced Napoleon, called him ‘traditore,’ ‘mosso da libidine,’ ‘capo di briganti, di assassini.’ The Milanese hate the French, and are beginning to weary of the Sardinian government, and because they have to pay heavier taxes they regret the Austrians. This promulgation of Garibaldi has roused them against France and Sardinia, and made them furious for a Republic. To-night they propose a demonstration; all the soldiers - cavalry, infantry, and National Guard - are in readiness to suppress it. While I was writing, a confused murmur reached our ears. We got up and ran to our window, which looks both up and down the street. Instantly we perceived that a large band of men, with lighted torches, were rapidly advancing up the street. A crowd formed in front of them. We saw men behind and at the sides. The bright red torches swayed about, burning and smoking with a glare upon the houses crowded with faces. Something seemed to interrupt their progress. A great noise arose, and the crowd increased. It was picturesque to see them toss their flambeaux up and down to make them shine, and in the distance each man looked like a shape of flame. Eschmann came up and told us that this was one of four divisions of the demonstration; 400 of another had been taken prisoners, and these were surrounded with soldiers. The soldiers forced them to break up, the crowd dropped away, and so ended the émeute. I often wondered what a demonstration meant. This is a pretty and picturesque specimen.’

12 April 1889
‘After some days of indecision, Catherine and I left Davos this morning for Sus by the Flégère. It was misty, yet I thought with the promise of a fine day in it. A large post and four passengers, and six luggage sledges, with only four drivers to all the ten horses. We were in the conductor’s sledge. Up to the Hospiz things went well, and the heat was absolutely awful. It burned more than I ever felt it burn, except upon the névé of a glacier in midsummer. A splendid liquid sky, full of the spring, seeming to portend storm. The road to Sus combines all the dangers of an Alpine road - avalanches, upsettings, falling stones; and they were all imminent to-day. When the first four sledges plunged into the great gallery I felt comparatively safe, but the rest did not arrive. After about ten minutes a fifth horse came plunging down the dark passage over the ice, with a pack-sledge and no driver. When he reached our train, he kept whinnying, neighing, and looking back as though to tell us that something had happened. We waited another five minutes, and still the rest did not arrive. The conductor had sent the chief postillion back. He could not leave the five horses alone in the tunnel - yet he was now anxious. Accordingly, I proposed to run back and see what had happened. The tunnel was pitch dark and as slippery as glass. It took me some time to slip along with my gouties on. When I emerged into the blaze of sunlight and snow, I saw nothing at first; then met Herr Lendi of Davos Dorfli walking to me. One of the sledges (with a driver) had been upset. The two passengers, a man and woman, and the postillion, had all been flung over a wall on to snow and rocks, and had fallen and rolled about fifty feet down the steep place. The woman was badly cut about the head; the young man, a Swiss, had sprained his hand; the postillion was all right.

‘Fortunately,’ added Lendi, ‘the horses and sledges remained above the wall, else they would all have been smashed together.’ I saw the girl, dazed and faint, and the place where she had fallen; then ran back to tell the conductor. But it was bad going in that tunnel with my gutta-percha shoes, and soon I heard the rest of the sledges come thundering into the pitch dark passage. I tried to keep close to a wall, and in moving shufflingly onward as fast as I could go, fell once heavily upon the rock and ice, bruising my right arm and loins. I did not think much of it at the time, being eager to get to my own sledge before the rest of the train arrived.

I ought to mention the curious optical phenomenon in this black gallery - black because fallen avalanches had stuffed up all its apertures with snow. On entering it, with eyes dazzled by the brilliance of the outer day, any object which caught a reflex of light from behind looked as green as emerald or sun-illuminated lake-water. In the middle there was no colour, nothing but night. Toward the end, when light again caught icicles and snow-heaps from the furthermost opening, these points shone bright crimson, as though a score of red Bengal lights had been lighted far ahead.

We reached Sus without further accidents. There, while I was talking to Herr Patt, I found that I had lost a ring from my watch-chain, to which was hung these objects - 1, funeral gold ring of John Symonds, my great-grandfather; 2, alliance ring of my great-grandfather and great-grandmother Sykes, two clasped hands opening, one heart inside; 8, a ring belonging to Admiral Sykes, with the name of his friend Captain Gathorne; 4, my father’s guard-ring; 5, my seal ring of bloodstone engraved with the crests of Symonds and Sykes; 6, my gondolier’s ring engraved with the arms of Symonds; 7, a Napoleon Rep. Fr. 1848; 8, a cow-bell given me by Patt.’