Gustavus von Holst

Today marks the 150th anniversary of the birth of Gustavus Theodore von Holst, British composer of The Planets, one of the Western world’s most famous and popular pieces of music. He was a consummate man of music, not only a composer, but a conductor, a concert trombone player, and a pioneering teacher. From his early 30s, he began to keep appointment diaries which, from the end of World War I, according to one biographer, ‘become true diaries’. The title of the biography promises ‘Diary Excerpts’, unfortunately there are so few quoted extracts, and none of any length, it is impossible to get a sense of Holst the diarist.

Holst was born in Cheltenham, England, on 21 September 1874. His father, a professional musician, was of mixed European ancestry with many musicians among his forefathers. His mother, too, was talented musically. When she died in 1882, his father remarried. Gustav was educated at Cheltenham Grammar School, where he learned various instruments and began composing. On leaving school, he studied counterpoint in Oxford for a short time with George Frederick Sims, before taking his first job as an organist and choirmaster. In late 1891, he gave a first public piano recital (by when he was using the shortened name Gustav), with his father, in Cheltenham. And, the following year, music he had written for a Gilbert and Sullivan-style operetta was performed in the town.

Holst moved to London in 1893, to study at the Royal College of Music, winning a scholarship in his third year, and supporting himself by playing trombone in London theatres, and at seaside resorts during the summers. At the College, he studied, in particular, composition under Charles Villiers Stanford. Richard Wagner’s music soon became an important influence on his emerging style; but, it was Ralph Vaughan Williams, who he met in 1895, and who become a lifelong friend, who would have more influence on his music than anyone else.

Although he had had some compositions performed and published, Holst needed to earn money, and he wanted to work as a performer. He took posts as organist in various London churches, and, on leaving the College in 1898, he played the trombone in the Carl Rosa Opera Company and he toured with Scottish Opera. He married Isobel Harrison in 1901, and they had one child, Imogen. (Imogen, who died in 1984, was a successful composer and teacher in her own right, and also kept a diary for a while when she was working with Benjamin Britten.)

By 1903, Holst had decided he wanted to focus on composing, but, as money was still tight, he took up various teaching posts, at girls’ schools in Dulwich and Hammersmith, at Morley College, and at Passmore Edwards Settlement (now the Mary Ward Centre). His teaching would come to be seen as pioneering new ways in musical education. In composing, Holst was often inspired by literary texts - Thomas Hardy, Walt Whitman, the Ramayana (having studied Sanskrit, he made his own translations). He also drew on national folk music (although his friend Williams became a more passionate exponent of folk song) and on new European music, such as that by Stravinsky. According to Encyclopaedia Britannica, ‘the cosmopolitanism of Holst’s style, rare in English music of his period, lends him a special historical significance’.

Holst tried to enlist at the outbreak of the First World War, but was rejected as unfit for military service. He continued teaching, and it was during this period (1914-1916) that he composed what would become his most famous piece of music - The Planets. In 1918, he was taken on by the YMCA to be a volunteer musical organiser for troops, based in Thessaloniki, Greece. His teaching employers gave him a leave of absence, but the YMCA were worried about his German-sounding name, von Holst, so he changed it by deed pole to Holst. On returning to Britain, he took up additional teaching posts, at Reading university, and, with Williams, at the Royal College of Music.

In the early 1920s, Holst found himself immensely popular, not only because of The Planets, which had found success across the Atlantic, but with The Hymn of Jesus and The Perfect Fool. He undertook a lecturing and conducting tour in the US, but then the strain of being in demand for conducting, teaching, and working on his compositions, led to a kind of breakdown. On the instructions of his doctor, he cancelled all professional engagements in 1924, after which he only resumed teaching at St Paul’s Girls’ School in Hammersmith. Some later works, such as the First Choral Symphony and Egdon Heath, were not so well received by critics and audiences as his earlier works. In 1927, Cheltenham organised a Holst Festival.

In his final years, Holst continued to make gruelling conducting and lecturing tours to the US (including at Yale in 1929 and at Harvard in 1932) and to compose (A Choral Fantasia, for example, and, for the pupils at St Paul’s, Brook Green Suite). After his 1932 trip, however, he fell ill; and he died in early 1934. Further biographical information can be found at Wikipedia, Kenric Taylor’s Holst website, or Music Sales Classical,

Holst left behind a large volume of letters which were employed by Jon Ceander Mitchell (professor at University of Massachusetts Boston) to construct a biography. This was published in 2001 by the New York-based Edwin Mellen Press (which describes itself as a non-subsidy academic publisher). In this book - A Comprehensive Biography of Composer Gustav Holst with Correspondence and Diary Excerpts - Mitchell states: ‘In addition to the letters, Holst left a plethora of other primary sources of information. Extant diaries begin in 1912. At first Holst used these simply as appointment books but, beginning with his eight-month stint with the British YMCA at the end of World War I, they become true diaries which give us details about daily events in the composer’s life. Closely related to the Diaries are Holst’s surviving Notebooks, which begin in 1913. These contain Holst’s “laundry lists,” often referring to plans for international travel, but sometimes containing some of the composer’s innermost thoughts.’

However, in apparent contradiction to his title, Mitchell rarely includes any diary excerpts in the book. He does use the diaries extensively to source facts about Holst’s movements and activities, and, very occasionally, includes a quoted phrase. As for actual excerpts, a sentence or more long, I could find only one! Here is that one diary excerpt, and a couple of extracts from Mitchell’s book where he mentions Holst’s diary.

16 November 1915 [waiting for a boat from southern Italy to Corfu]
‘Visit officials and buy food for boat in morning. Get on board 2PM via small boat.
Boat supposed to start at 5 PM
Passage [supposed to] last 15 hours
Boat does not start at all. Hung up all night.’

1932
Mitchell says Holst took his teaching at Harvard seriously: ‘He followed through, keeping tabs not only with the progress of the individuals, but also with the progress of the classes as a whole. Diary entries confirm this, from “small class and little work” [23 February] to “good class with lots of work.” [25 February] Holst’s concerns for and frustrations incurred from his students affected him more and more as the term progressed. His diary entry for Wednesday, March 2 confirms this: “evening concert of my pupils’ music with subsequent bad nights.” ’

1933
Mitchell says: ‘The classical symphonic cycle had always interested Holst, yet it had always befuddled him. To this point he had made four attempts [. . .] His fifth and final attempt was to have been an orchestral symphony. In late 1932, possibly at Durham Cathedral, he had written sketches for an Allegro, an Adagio, and a Finale. Preliminary sketches for the Scherzo came later, on March 22, 1933, when he was bedridden at Elm Crescent. According to his Diary entries, Holst began actual work on the rough draft on Sunday, July 30th and finished it on Friday, August 18th. One month later, on September 16th, he finished the two-piano version of the Scherzo. [. . .] In spite of a rather abrupt ending, the Scherzo, at just over five minutes, is long enough to stand on its own as an independent composition. As such, it is Holst’s last completed work.’

This article is a slightly revised version of one first published on 21 September 2014.

Anderson and Free Cinema

‘The pages are a challenge, and though often people think that writing a diary is unhealthy - as it certainly can be, when it confirms a tendency to turn in on oneself - it can also be the reverse, forcing one to objectify, to pursue one’s thoughts, to marshal them and use them.’ This is from the acclaimed diaries of the film maker and theatre director Lindsay Gordon Anderson, who died 30 years ago today. A major cultural figure of his time, he was a leading light in the so-called Free Cinema movement that foreshadowed social realism in British film making. 

Anderson was born in 1923 in Bangalore, South India, where his father had been stationed with the British Army. His parents separated in 1926. Lindsay was educated at Saint Ronan’s School in Worthing, at Cheltenham College (where he met his lifelong friend and biographer, Gavin Lambert), and at Wadham College, University of Oxford. He served in the Army from 1943 until 1946, latterly working as a cryptographer for the Intelligence Corps. Returning to Oxford, he switched from classics to English, graduating in 1948.

Anderson worked as film critic writing for the influential Sequence magazine, which he co-founded with Lambert, Peter Ericsson and Karel Reisz, before contributing to the British Film Institute’s journal Sight and Sound and the left-wing political weekly the New Statesman. By the late 1940s, he had begun to experiment with film-making himself, directing the 1948 Meet the Pioneers, a documentary about a conveyor-belt factory.

With Reisz, Anderson organised, for the Institute, a series of screenings of independent short films by himself and others. He developed a philosophy of cinema for which he coined the term Free Cinema - to denote a movement in the British cinema inspired by John Osborne’s play Look Back in Anger. Anderson and other members of the movement allied themselves with left-wing politics and took their themes from contemporary urban working-class life.

One of Anderson’s early short films, Thursday’s Children (1954), concerning the education of deaf children, won an Oscar for Best Documentary Short in 1954. And, in 1963, he directed This Sporting Life based on a novel by David Storey and produced by Reisz. These films are seen as among the forerunners of an emergent cinema of social realism. Anderson is best remembered for his ‘Mick Travis trilogy’, all of which star Malcolm McDowell as the title character: If.... , O Lucky Man!. and Britannia Hospital. Anderson was also a significant  theatre director, long associated with the Royal Court Theatre, where he directed many plays, especially those by Storey.

Anderson never married, but he seems to have yearned for male relationships, especially with his leading men such as Richard Harris (star of This Sporting Life). Some in his circle found it difficult that he did not publicly acknowledge his sexuality (despite, one can conclude, a growing acceptance of homosexuality, especially in the creative industries). He died on 30 August 1994. Further information is available from Wikipedia, Encyclopaedia Britannica, and the BFI.

In 2004, Methuen published The Diaries: Lindsay Anderson as edited by Paul Sutton. The publisher states: ‘Throughout his life Anderson stood in opposition to the establishment of his day. Published for the first time, his diaries provide a uniquely personal document of his artistic integrity and vision, his work, and his personal and public struggles. Peopled by a myriad of artists and stars - Malcolm McDowell, Richard Harris, Albert Finney, Anthony Hopkins Brian Cox, Karel Reisz, Arthur Miller, George Michael - the Diaries provide a fascinating account of one of the most creative periods of British cultural life.’ The full work can be borrowed digitally online at Internet Archive, or sampled at Goooglebooks. Several extracts from the diaries can be found in the Diary Review’s Happy Days with Peggy; more about the diaries themselves can be found at the University of Stirling website.

From Paul Sutton’s introduction to the Diaries:

‘Anderson started writing his diary in 1942, when he was eighteen years old, preparing for active service in the Second World War and about to study Classics at Oxford. For much of the rest of his life, he used the diary as a means to organise his thoughts, to spur himself into action, and to pass the time on long international flights. As with any diary, there are omissions. For example, there are no diary records from August 1955 until January 1960 (thus missing out his first theatrical triumphs); only four diary days of 1960 have survived; only three days in 1961 have any record; and no diary has yet surfaced for 1968 (the year he made If . . .). In his last years, the diary took the form of notebook jottings and copies of letters dictated to his secretary. [. . .]

In the most poignant passages, the diary becomes a self-analytical tract, or poem, that reaches into the heart of light and shade within himself. In the diary we can trace, too, the genesis and the growth of a body of films and plays with a clarity and a thoroughness that is rarely possible. For example, in 1987, in Maine, he closed his feature film career, making good a promise to a friend by directing Bette Davis in The Whales of August. In the diaries, many years earlier, we read of boyhood visits to the cinema to see films starring Bette Davis; in the Second World War, stationed, like his father before him, in India, we read of a bicycle trip into New Delhi to see Davis in Mr Skeffington, and in the busy year of 1965, he was a guest of Bette Davis in New England, coaxing her into a new play on Broadway that was never to be. This is all a part of the fabric of life, an artist’s life, a half-century of weavings of work-thoughts and meetings that coheres into a portrait not just of an artist, but his art, and his time.

So that the diaries could be published in one volume, they have been edited down from perhaps a million words into the current form. [. . .] I’ve included what I feel to be the essential Anderson: the entries that give the clearest picture of a remarkable man, the society in which lived, and a body of work that up till now has never been given the attention it deserves.’

Here are several extracts including the first of the published entries.

1 January 1942
‘One of my principal New Year’s resolutions is to keep a journal. In this journal I shall write only when I have something to say; its purpose is both to remind me in after years of how I felt and what I did at this time and also - quite unashamedly - to give me literary exercise. It should help improve my style and my ability to express myself and many of the incidents it records will no doubt prove excellent copy. I will however not tell lies in order to improve a story.

I am not sure whether or not it will be absolutely frank: I am not used to writing solely to myself - and that perhaps is why I am so quick to mistrust published diaries. So at first at any rate I will probably be fairly reserved. And yet this is absurd: either I am writing for myself, or for a friend or friends or for publication. I can cross out the last - though, of course, I can easily expurgate it if necessary. Nor am I writing for my friends. I will therefore resolve to be utterly frank - a resolution which I do not think I can possibly keep! So here we go.’ 

4 June 1945
‘Ah sex! How obvious it is that without a satisfactorily adjusted sex life, a full and happy life is impossible: and I am chiefly frightened now that the repressions and introversion inevitable for me may end in twisting me, incapacitating me somehow as a person or as an artist (if I am an artist). I feel an increasing need to come out into the open - I have no more to be ashamed of than anybody else - though this of course is impossible.

And the deeper in I get, the further I am from spontaneity and simplicity, and the more difficult relations will become. Besides there is a very positive need for physical intercourse which, if continually repressed, may seep in and poison all my friendships.
I need the help probably of a technician in this sort of thing, a psycho-analyst. I need to find out whether I am irredeemably homosexual. Whether my instincts can or should be repressed or allowed scope or subliminated. How? All very simple really. The only danger seems to be a tendency to treat sex as a mere physical act like excreting. That must be guarded against.

I shall certainly do this when I get back to England.’

19 June 1963
‘The pages are a challenge, and though often people think that writing a diary is unhealthy - as it certainly can be, when it confirms a tendency to turn in on oneself - it can also be the reverse, forcing one to objectify, to pursue one’s thoughts, to marshal them and use them. And although, at the age of forty it is a little chilling to think one is starting again, it is still possible one may yet improve.

I think of Richard, of that side of him which has a somewhat insidious appeal to me: the dark, powerful and sadistic side, proud and narcissistic, to which I play the servant while he plays the king. . . He has just read the proof copy of Radcliffe and rang me up to say it’s marvellous: where did David [Storey] get it from? I wonder for an instant if there’s anything in it of him and me. . . is there? Not too much I imagine. When did he start the book? I told him David had spoken of it before we met. . . He talked of the idea of filming it and, momentarily, I wonder also if he would like to direct it.

Knowing Richard, and experiencing these extremes of warmth and cold, the gentleness and the violence, the reason and the hysteria, has certainly been an education for me . . . making real and comprehensible much that before was only theoretical. It is a battle of wills, and it is something of an experience to find myself in a relationship where my will is the weaker, where, intermittently, I am made to accept domination, and made to accept behaviour - treatment - I would accept from none other, through fear of losing favour. It’s interesting that for all my masochism in fantasy, I am not able (so far) to enjoy consciously the treatment in practice. When on the stage of the Royal Court, Richard grasps me by the throat - I am conscious only of the will to stand firm, to survive . . . In little, I suppose this does crystalise the Radcliffe relationship . . . But how far from (for instance) the relationship we had at Cannes where he was all kisses and appreciation: “I don’t know how you put up with me.”

Of course it is precisely this duality of nature, this comprehension of evil and goodness, that gives Richard a quality of genius as an actor. So that to wish that he were always ‘nice’ is to wish him other than he is - an impossibility anyway. And since it is what he is that attracts me so: why should I wish him otherwise?’

My own diaries have mentioned Anderson a few time, most recently in this extract.

12 February 2018
‘For once, I found something to read in The Guardian on Saturday. The obituary of a writer called David Sherwin. I didn’t have any memory of him (nor does his name occur anywhere in my diaries) but he was the writer of the three remarkable and radical films directed by Lindsay Anderson in the 1970s and 1980s all starring Malcolm McDowell: If. . ., O Lucky Man and Britannia Hospital. For much of my youth, Anderson was one of my favourite directors (second only to Nicolas Roeg) because of these films, but, I read, it was Sherwin who was the instigator and creative energy behind them - although all three films were very much a collaboration between Anderson, Sherwin and McDowell. The Guardian also published a few thoughts by McDowell himself on Sherwin. Here’s one para: ‘Our production company was called SAM Productions, for Sherwin, Anderson and McDowell. With the Mick Travis [McDowell’s character] trilogy, David wrote three amazing films. Crusaders (which became If…) was David’s original idea, which Lindsay took and made mostly about his own life. Coffee Man (which became O Lucky Man!) was mainly my story. Britannia Hospital is more David’s.‘

This article is a slightly revised version of one first published on 30 August 2014.

Innumerable ripples; countless diamonds

Here is a fourth sample chapter from the yet-to-be-published London in Diaries, this one about Thomas Cobden-Sanderson, a bookbinder associated with the late 19th century Arts and Craft movement. His diary, more than any other, reveals a passionate relationship with London’s most important (historically and geographically) feature: the River Thames. See also The Drama of London in WWI, 34 heads on London Bridge, and I was utterly amazed!.

Thomas Cobden-Sanderson, bookbinder by the Thames

No feature of London - not even St Paul’s or the White Tower - has as much physical presence or historical importance as the river Thames. Indeed, it has been around much longer than the city itself, and has been the most significant factor in the city’s growth over the years. Many of the diarists in this collection mention the river, but none have as vital or as spiritual a connection as Thomas Cobden-Sanderson, and none write of it as romantically, as here: ‘What I should like to convey is the intense energy, sparkling, crisping, into moments of whitest, brightest light, again and again and again, everywhere over the surface of the the outstretched sheet of water.’ He was an extraordinary man in many ways, abandoning a legal career, he took up with William Morris’s Arts and Craft movement, becoming a highly-skilled bookbinder and printer. Apart from lyrical descriptions of the river, it figures often in his exquisitely-written diary for more practical reasons, whether because he is walking with his lover along the Embankment, setting up a business in a house with a garden that runs down to the riverbank, or secretly at night drowning blocks of valuable metal type.

Thomas James Sanderson was born in 1840, at Alnwick in Northumberland. His father, James, was a district surveyor of taxes who worked his way up to become a Special Commissioner of Income Tax at Somerset House. After grammar school, Thomas studied at Trinity College, Cambridge, aiming to enter the church, but he left without taking a degree, apparently in protest against the examination system. After a period of soul searching, he was called to the Bar as a member of the Inner Temple, where he worked throughout the 1870s. He was involved in establishing the powers, rights and obligations of the London and North Western Railway Company, a task which debilitated his health, and led him to go abroad to recuperate.

In Siena, in 1861, he met Janey Morris (wife of William who, still in his 20s, was in the process of launching a new-style company to supply decorative arts). Janey was with two daughters of Richard Cobden, a well-known British manufacturer and statesmen. The following year Thomas married the younger Cobden daughter Anne (she was 29 at the time, and he 41), and, out of respect for her father, changed his own surname to Cobden-Sanderson. Soon after, he left the Bar and, eager to work with his hands in the spirit of the evolving Arts and Crafts movement, took up a suggestion by Janey Morris, to train as a bookbinder. He and Anne lived first in Hendon and then in Hampstead; and they had two children, Richard and Stella. 

Cobden-Sanderson took his new craft to the highest level, binding classic works of literature in simple but sumptuous floral designs with gold on leather. Unusually, he chose which books to bind, and sold them through Bains in the Haymarket. By the late 1880s, his bound books were much in demand from American buyers. Both Thomas and Anne were early socialists. Anne became a leading campaigner for woman’s suffrage, and was arrested in 1909 for picketing outside 10 Downing Street (and kept a diary while in prison). She also did much to press for various improvements in children’s well-being. 

In the early 1890s, Cobden-Sanderson started the Doves Bindery at 15 Upper Mall, Hammersmith, a small house with a garden running down to the Thames, not far from William Morris’s Kelmscott House. At first, he employed several professional binders to work on individual books as he had done, but, in 1890, he launched, in partnership with Emery Walker, the Doves Press, and thereafter the Bindery worked more mundanely to cover printed editions. Between 1900 and 1917, the Doves Press produced 50 classic titles (Shakespeare, Milton, Goethe, the Bible, etc), all in the so-called Doves Type (designed by Walker) and all austere, characterised by a lack of illustration and ornament, in reverence to the literature itself.

Although the partnership with Walker, who had other interests, had been dissolved in 1908, it allowed Cobden-Sanderson to continue using the Doves Type until his death, at which time it would revert to Walker. Fearing his ex-partner might not use the type in a way he thought fitting, Cobden-Sanderson chose to destroy it. He did this during many nights in the latter half of 1916 by throwing the metal blocks into the Thames. Subsequently, he wrote to Walker’s lawyers, and his actions became public knowledge. Cobden-Sanderson died in 1922, and Anne was left to settle, at some personal cost, the legal action brought against her husband by Walker.

Throughout most of his life Cobden-Sanderson kept a regular diary. This was edited by his son, Richard, and published in 1926 in two volumes as The Journals of Thomas James Cobden-Sanderson, 1879-1922. They reveal the author as a spiritual man, high-minded and intellectual, lacking perhaps a little in humour and colour himself, though the details that emerge of his life and those of others in the Arts and Crafts movement are immensely interesting, not least those about the early life-changing suggestion by Janey Morris and those about the disposal of the Doves Type. And through all of his life, apparently, and the diary, runs the River Thames which regularly inspires him to flights of literary fancy.

Annie back from Chelsea
31 May 1883
Yesterday Annie and I walked together on the Embankment towards Westminster, I to the Long Gallery, she to the Abbey to wait till I had done. But the day was so lovely, the sun so bright, the river so attractive, that when I suggested that we should walk on the river-side of the road, she suddenly bethought herself of Walter Sickert at Chelsea, and should she not go by water to see him? I backed her up, and so at the next pier we parted; she went down the landing steps - the tide was very low - and I continued along the Embankment, looking back from time to time. Presently her steamer approached the pier, paused and came off again - I watched it approach, and a wave of a parasol drew my eyes to my darling. I waved my hand and hat, and smiled to her. [. . .]

Here there came a knock at the door, and my diary fell to the ground as I rushed to open it. It was Annie back from Chelsea. We embraced, and then she hurriedly began to tell me of a girl whom she had met on the steamer, red-haired, consumptive, Scotch, an envelope folder or sorter, returning from the Brompton Hospital where she was an out-patient. (She ought to be an in-patient, but could get no letter). [. . .] She got 1d. for 1,000 envelopes, and, when well, made 12s a week.

Why don’t you learn bookbinding?
24 June 1883
Yesterday afternoon we called at the Morrises, and in the evening supped with the William Richmonds, where we again saw the Morrises. I was talking to Mrs Morris after supper, and saying how anxious I was to use my hands - “Then why don’t you learn bookbinding?” she said. “That would add an Art to our little community, and we would work together. I should like,” she continued, “to do some little embroideries for books, and I would do so for you.” Shall bookbinding, then, be my trade?

26 June 1884
I am now the proprietor of a workshop! On Saturday I signed an agreement by virtue of which I became on Tuesday last the tenant under Mr Williams (of Williams and Norgate [a bookseller]), of three rooms of the second floor of 30 Maiden Lane, being part of the back premises of Williams and Norgate’s shop in Henrietta Street at £50 per annum.

23 July 1884
On Monday, Morris and the Hyndmans came to lunch with us, and I afterwards went with them to Hyde Park to take the opportunity of the Liberal demonstration to spread socialistic literature and to hold an open-air meeting. This last was a fiasco, being brought to an ignominious close by an ugly rush of the crowd.

27 August 1885
On Saturday Annie and I went to the meeting for the protection of young girls, in Hyde Park. Mrs Morris was in the procession of the Ladies’ National Society, and Morris in the brake of the Socialist League.

A body of art which quite startles
2 April 1886
I went on to St James’s to see the Graham pictures on view at Christie’s. Burne-Jones, Rossetti, Millais and F. Walker - prodigious performances. They, and the works of Millais and Holman Hunt on view in Bond Street, constitute a body of art which quite startles by its greatness.

24 December 1886
Yesterday I went into town to do some shopping. I called at Bain’s [booksellers]. He told me with great joy that he had only one of my books left - The Gospels!

28 March 1891
On Wednesday last I went to the British Museum to see a collection of drawings arranged by Sidney Colvin, and later I went to Hammersmith to see Morris. I found Mrs Morris very happy, for he was very much better. He was having his supper - oysters etc. When he finished, I went into his room, and found him sitting in a chair by the fire with a large silk handkerchief spread over his knees. He looked - despite his supper! - a little empty, his clothes hanging somewhat loosely upon him. But he was cheery and hopeful, and fell to talking about the new book (The Glittering Plain) now in the course of printing at the Morris Press. It promises to be a very beautiful book. [The Glittering Plain, a novel by Morris, is considered to be one of the first in a genre now called fantasy.]

The occasional sound of an oar turning 
4 April 1891
Last Sunday I visited Morris’s printing press. Morris was a little down; not up to talking. 

The Press has been set up in a little cottage opposite The Doves, and next door to Sussex House [Upper Mall, north bank of the Thames in Hammersmith], and is worked by two compositors and one pressman - of course all by hand. I saw the new type, and the sheets, paper and vellum, already printed The Glittering Plain.

4 July 1895
I am reading Pater’s study of Dionysus. It is delightfully silent. From the window I see the lights on and beyond Hammersmith Bridge, and the lengthened reflection on the dark river, and I hear the occasional sound of an oar turning in the rowlocks; but the tide is low, and the otherwise-sounding river is still, sounding only with the passing toiling barge, and alive with moving lights. On my table are my tools, and a glass of tiger-lilies given to me out of our garden by my cleaner, Mrs Mansel.

William Morris in a bathchair
11 October 1896
Morris is dead. He died on Saturday 3rd October at 11:30 in the morning. I saw him alive in Riverscourt Road the preceding Monday. I had been to the Bindery to get some of my books for the Arts and Crafts Exhibition, and I was on my way to the Gallery on my bicycle, when on turning the corner into Riverscourt Road I saw before me, going in the same direction, Morris in a bathchair, with a shawl across his shoulders [. . .].  I had never seen Morris in his chair before. It was a strange sensation to see the strong man so reduced. Yet he looked clear of complexion and ruddy red, and though he said not a word he yet lifted his gloved hand and waved me farewell as I mounted again and turned and bade him good-bye. . . a last good-bye.

21 August 1897
How superbly beautiful the river is at this moment! There is a high wind blowing the surface into innumerable ripples, each of which catches instantly and reflects a dazzling gleam from the sun, so that there are as it were countless diamonds at play, reflecting and deflecting rays of brightest light, so that the river’s face is an ever shifting . . . 

What I should like to convey is the intense energy, sparkling, crisping, into moments of whitest, brightest light, again and again and again, everywhere over the surface of the outstretched sheet of water.

Education: shall we at last transform it, and with it our vision of and dealings with the world? Shall we have the energy of the light I see in dazzling brilliance playing upon the reflecting facets of the water, and play with the earth our home, and its dwelling-place, the infinite voids of space? Education will be transformed. “Arts and crafts” will invade and overcome literature and science and commerce, and with our own eyes we shall re-see the universe, and with our own hands and brains we shall re-create it afresh.

My writing splutters and fails of the mark.

Hampstead hideous with affluent vulgarity
28 September 1897
A cold mist this morning shuts out the sun, and only the near trees, now so yellow, are visible, and the outlines of the bridge. [. . .] On Sunday I went to Hampstead, and lunched with the Kapteyns, and had tea with Blomfield, and looked over the wall at the old house and home, No. 49. It looked very pretty, but Hampstead is becoming every moment more hideous with affluent vulgarity. I wheeled along the Finchley Road to the cemetery, and went and stood by the dear, quiet grave of Father and Mother.

21 January 1898
The sea-gulls - or river-gulls? - are sweeping in wide curves to and fro over the river - the river slides smoothly on its course - the wintered trees, arrested, placidly wait for the spring, the sky overhead is one continuous veil of stationary cloud.

All life at its best is poetry
9 May 1905
I have just seen Swinburne pass through the [British] library into the Large Room preceded by a lady and Watts-Dunton. Swinburne had on a grey, large, soft felt hat. His head, too, seemed vast, his shoulders, on the other hand, seemed slight and very sloping, and his figure plump but small. He walked without moving his body, or arms, which were held down straight at his sides. So passed our greatest living poet. I rose from my seat to see him, and pondered upon the insignificance and significance of things. The library remained as undisturbed as the surface of a lake and its whole body of water by the entrance of an undistinguishable pebble.

30 May 1905
The poets are the supreme craftsmen - the poets at their best. But all life at its best is poetry.

26 July 1908
Yesterday there was a procession, or series of processions, in support of the Licensing Bill. Annie with Stella went off early to join in it under the Suffragist banner. [. . .] I took the Turnham Green omnibus at the top of Rivercourt Road, and drove to Hyde Park Corner. There I got down, for already a procession blocked the way. I stood at the gate and watched the passing whirl; not a great stream, but great “the cause.”

25 August 1908
I went the other night to a concert at Queen’s Hall. It was a Promenade Concert, and a Wagner night. The Hall was packed. To get in I had to go to the end of a long queue extending round the building. I paid 2s., and got a seat in the balcony. The music was very loud, and filled the Hall like a great sea, and beat up into our ears as the sea does into the caves and hollows of the shore. [. . .]

Having resolved to close the Bindery next year, it seems to follow as a matter of course that I should close the Press also. But whereas I seemed to come naturally, after twenty-five years, to the former resolve, to come to the latter seemed to be against nature, there are so many great books to print and so few to bind.

Westminster Cathedral and St Paul’s 
12 October 1908
Yesterday was a lost day, save that in the morning I was at Westminster Cathedral and St Paul’s - the former, by the way, was the finer. St Paul’s seemed littered up with columns and architectural ornament, and the arches under the dome hideous in the meanness of their junctions coming down together, and [William Blake] Richmond’s decoration has not enlarged them. The effect of the Cathedral, on the other hand, with sun and shade and enclosed atmosphere, was quite beautiful. In both, however, the singing was enchanting.

14 October 1908
I came [to Kew Gardens] to see the great lily. But one had flowered and passed away in a day, and the next would not flower till to-morrow. I walked around the tank and saw the blossom of the flower to be, and its vast leaves outspread upon the water, slowly born and quickly dead, and so on from age to age.

Annie must not go to prison again
30 January 1909
Annie has just been in to say that Mrs Pankhurst has been proposing on the telephone to come and see her this afternoon. The Women’s Social and Political Union want Annie now to speak on their platform, perhaps “to go to prison.”

1 February 1909
I was at Kew on Saturday, and walked through the flower-house; lilies, lilac, azaleas, camellias, carnations, all, and others in sweet flower; and around them, outside, the bare dreaming trees, whose time is yet to come.

On Sunday afternoon, yesterday, Mrs Pankhurst called. She was gentle and affectionate, but, as it seemed to us all, tired. The prison immurement seemed to have damped her fire. [. . .] This is an odious result of prison, and an argument against its use as a weapon of revolt. Annie must not go again.

The Red Flag at the Albert Hall
20 November 1913
Last night I went to the Albert Hall to hear Larkin [Jim Larkin, an Irish trade unionist then heavily involved in the famous Dublin Lock-out dispute], and was disappointed. When he was speaking a raid was made on the hall by some “students” from outside. Suddenly a sound of running feet arose in the corridor, then the attention of the whole audience was concentrated on a dense commotion at one of the entrances to the hall and the passage leading down from it, and from all parts of the hall men rose from their seats and rushed towards it. The scrimmage continued with a dead sound of the struggle, but, as I remember, otherwise in silence. But from above women leant over from the balconies, and looking upon the struggle applauded. As it went on - I witnessed it from a box - limelights burst out in various parts of the hall, and finally the organ contributed its roar to the ear, playing “The Red Flag.” At last victory was cheered by the audience, and Larkin resumed his speech. The students had been driven out; but outside they raided the electric works, and tried to put out the lights of the hall, fortunately unsuccessfully. I was disappointed; not in this, which was highly dramatic and thrilling, but in Larkin’s speech.

12 December 1913
Last night Annie and I went to see and hear Anatole France [French novelist and man of letters] at the Suffolk Street Galleries, at the invitation of the Fabian Society. Bernard Shaw in the chair. Anatole France looked like an affectionate old fox, and spoke with great animation, and many smiles and many wrinkles. He was, or seemed to be, short and stout and bent and grey. Justice, Pity, Mercy, Love - these are things as wonderful as are the flowers of the field and the stars of heaven.

13 December 1913
Clear for London, and cold. Yesterday morning as I walked through Kensington I paused in front of a “provision” shop, and looked at the birds - shot, and hanging with their heads downward - golden plovers, pheasants, partridges. Pitiful sight.

The great fight at Olympia 
1 July 1914
On coming home last night between 10 and 11 o’clock after dining with Stella, I at once felt myself in an atmosphere of excitement - motors were rushing past, and newspaper boys and men were rushing about on foot, and crying hoarse, and to me unintelligible, cries. As I proceeded towards Addison Bridge - I was on my bicycle - the crowd and excitement became so great that I had to get off and walk close to the kerb. Presently the crowd was impenetrable. I asked the reason why. The great fight at Olympia - which was indeed all lighted up; Bombardier Wells had just knocked Bell out in the second round, and that was it! I pulled to the side, and leaning my bicycle against the wall on the bridge, waited the passing of the crowd. Such a crowd! Old and young, rich and poor, evening dress and filth, and men, almost all, or boys, but some women on foot, in the latest limpest evening dress, some in motors; all hurrying by as if all were bearers, to some remote other world, of long expected news. [Wells beat the Australian Colin Bell, for the heavyweight championship of the British Empire and a purse of £10,000. The New York Times headline for a report of the match ran: Women flock to fight at Olympia.] 

5 August 1914
Europe and the world are now in the hands of statesmen and warriors, who have enslaved - and are now hurling against each other their enslaved - human beings, drilled to destruction. Death, not Life, and Death in another form than in times of peace, now fills to their utmost limits the minds of men, and spreads itself over all the aspects of life.

A gun mounted in peaceful Green Park
9 October 1914
A few moments ago, as I passed into [Hyde] Park, a regiment of recruits marched by - it brought tears to my eyes.

8 February 1915
In the Green Park, newly erected, there is an enclosure and platform, and on the latter, with its muzzle appearing above the screen, is mounted a gun. In the midst of Peaceful Green Park.

24 January 1916
This morning I walked to Kensington through the Park. At Hyde Park Corner three guns mounted on trucks passed. Horrible looking weapons, apparently for high firing. Walking on, I saw a company of soldiers doing bayonet practice, piercing sacks with a thrust of their bayonets. I had just passed the gardens on the other side, where the flowers of spring were just piercing the grass. How beautiful they were; how horrible the bayonets.

This evening I began its destruction
31 August 1916
The Doves Press type was designed after that of Jensen; this evening I began its destruction. I threw three pages into the Thames from Hammersmith Bridge. I had gone for a stroll on the Mall, when it occurred to me that it was a suitable night and time; so I went indoors, and taking first one page and then two, succeeded in destroying three. I will now go on till I have destroyed the whole of it.

9 February 1918
Just returned from Bow Street whither I went at 2pm to stand by Bertie Russell, on trial for some writing which I had not seen in some obscure pacifist journal. He was sentenced to six months’ imprisonment in the second class. He appealed, and Frank and I bailed him out, otherwise he would have gone straight to prison. To prison, to solitary confinement, day and night in a locked cell. There was not a crowded court, only a gathering of friends, mainly women. [. . .] Bertie sat in front of the dock with his co-defendant, a young lady editor and proprietor of the journal in question, The Tribunal.

11 November 1918
The bells are ringing, and the guns have ceased.

12 November 1918
All London went merrily mad yesterday. I was indoors all day. All London merrily mad; all Germany?

The Oxford-Cambridge boat race
31 March 1921
The race was rowed yesterday, and after a terrific struggle - first Cambridge leading, then, at Hammersmith Bridge, Oxford, then beyond Chiswick, out of sight, Cambridge - Cambridge finally won by a length, but never once, or hardly once, was daylight seen between the boats. The crowd was immense, for the day was fine, and it was expected that the race would be a great race. We had a great crowd, and all the morning was taken up in preparing tea - cakes, tables, etc. - and arranging seats and benches in the garden. We were to be “at home” from 4 to 6pm - the race being at 5 or thereabouts - and by 4 I was exhausted, and retired to the parlour to rest.

Thanks to my Diego

Frida Kahlo, one of the most fascinating and colourful artists of the 20th century, died 60 years ago today. Physically afflicted from an early age, she suffered much in the years before her death, often illustrating her pain and distress in a notebook, with colourful artworks and poetical texts. There is also much in the book about her love for the famous Mexican muralist, Diego Rivera. However, even though there are very few dated entries, nor are there any facts about her day-to-day life, the notebook was very successful published - an exact copy, with notes and translations - as The Diary of Frida Kahlo.

Kahlo was born on the outskirts of Mexico City in 1907. Her father was a painter/photographer of German background whose family had originated in Romania. Aged six, Frida was struck down with polio, which permanently disfigured one leg. She studied at a National Preparatory School, which is where she first came in contact with the artist, Diego Rivera, who had been commissioned to paint a mural in the school’s auditorium.

In 1925, Frida Kahlo was involved in a serious bus accident, which left her further physically troubled for the rest of her life, but it was while recovering from this that she began to paint. A friend introduced her to Mexico City’s artistic set; and in 1929 she married Diego River, by then an internationally famous muralist. Their relationship was difficult, each one having numerous affairs, although they were always very supportive of each other as artists.

Diego and Kahlo, both active Communists, befriended Leon Trotsky after he fled to Mexico, having been sentenced to death by Joseph Stalin. Kahlo, famously, also had an affair with him. Kahlo and Diego were divorced in 1939, but a year later they remarried, their relationship continuing in the same troubled way. They both broke with Trotsky, who was assassinated in 1940, to become supporters of Stalin.

Kahlo spent the last years of her life suffering from various ailments, not least gangrene which led to her having a leg amputated at the knee. She died on 13 July 1954, aged only 47. The official cause of death was cited as a pulmonary embolism, though some have suspected she might have died of an accidental or deliberate drug overdose. Further information is readily available online from Wikipedia, Washington Monthly, or the Frida Kahlo official website.

Although the Louvre bought one of her canvases in 1939, for many years Kahlo was mostly remembered as Riviera’s wife. Only towards the end of the 1970s and in the early 1980s, with the flourishing of a new artistic style in Mexico known as Neomexicanismo, did her reputation develop internationally; and with it came much widespread public interest in her art and her life. Today, Kahlo is considered one of the 20th century’s most important female artists. She only produced about 200 canvases, largely still lifes and portraits of herself, family and friends, all of which can be viewed online.

From 1944 until her death, Khalo kept a journal of sorts, a notebook rich in illustrations and poetry, but with very few actual dated written entries. It was locked away for more than 40 years, but in 1995, Bloomsbury published The Diary of Frida Kahlo - An Intimate Self-Portrait which included an exact copy of all 170 pages, an introduction by the world famous author, Carlos Fuentes, transcriptions into English, and a commentary on the pages by art historian Sarah M. Lowe. The full text and pictures can be borrowed freely online at Internet Archive. Extracts are also available at the Silencing the Bell blog.

In his 1995 introduction to The Diary, Fuentes says: ‘. . . [Kahlo’s] Diary now shows us: her joy, her fun, her fantastic imagination. The Diary is her lifeline to the world. When she saw herself, she painted and she painted because she was alone and she was the subject she knew best. But when she saw the world, she wrote, paradoxically, her Diary, a painted Diary which makes us realize that no matter how interior her work was, it was always uncannily close to the proximate, material world of animals, fruits, plants, earths, skies.’

And he ends: ‘In the measure that her hope was her art and her art was her heaven, the Diary is Kahlo’s greatest attempt to bridge the pain of their body with the glory, humor, fertility, and outwardness of the world. She painted her interior being, her solitude, as few artists have done. The Diary connects her to the world through a magnificent and mysterious consciousness that “we direct ourselves towards ourselves through millions of beings - stones - bird creatures - star beings - microbe beings - sources of ourselves.”

She will never close her eyes. For as she says here, to each and everyone of us, “I am writing to you with my eyes.” ’

Whereas Fuentes’s introduction provides a literary eulogy for Kahlo’s diary, Lowe’s essay provides a more down-to-earth, comparative analysis, and starts by defining it as a ‘journal intime’: ‘Reading through Frida Kahlo’s diary is unquestionably an act of transgression, an undertaking inevitably charged with an element of voyeurism. Her journal is a deeply private expression of her feelings, and was never intended to be viewed publicly. As such, Kahlo’s diary belongs to the genre of the journal intime, a private record written by a woman for herself.

The impulses and purposes of a diary are perplexing and sometimes paradoxical. Is it really an autobiography or is the text transformed when it comes to light? Does it retain its integrity when read by another or published? How should a woman’s private journal be read, and by extension, what can be learned about Kahlo by reading her diary?

Throughout history, diarists, both men and women, have chronicled their lives framed by their times or by particular historical events. In contrast, the predominant subject of the journal intime, and Kahlo’s own diary specifically, is the self.  Kahlo’s motivation has less to do with communication than with negotiating her relationship to her self, and thus the conundrum - why write if no one else will see the text? - is in part answered.’

Lowe also analyses how the diary shows Kahlo recording her physical deterioration: ‘Kahlo kept this diary for the last ten years of her life, and it documents her physical decline. Dated pages are sporadic, and thus it is difficult to discern the chronology. But an awful progression - regression - is unmistakable, as Kahlo faces the loneliness and terror of her illnesses. [. . .] Kahlo’s chronic pain, however, and her encasement in orthopedic corsets and plaster casts for months at a time, the trophic ulcers she suffered on her right foot (which led to its amputation shortly before her death), and the roughly thirty-five operations she is said to have undergone may have been caused by a congenital malformation of her spine, a condition called spina bifida. Her diary chronicles her quest for cures, her resigning herself to the dictates of her medical advisers, and her often stoic response to their failures.

Part of Kahlo’s preoccupation with the details of her infirmities springs from her youthful interest in physiology and biology. Before her fateful accident, Kahlo was taking science courses as prerequisites for becoming a doctor; even as she convalesced, the thought of combining her interest in art and science by becoming a scientific illustrator came to her. Indeed, these studies provided Kahlo with potent visual analogies and metaphors, which she marshaled in her paintings and used throughout her diary: internal organs and processes were often seen outside her body, while she used x-ray vision to picture her broken bones and spine. Of all her biological and botanical metaphors, Kahlo made the most effective use of roots and veins, tendrils and nerves, all routes for transmitting nourishment or pain.

Despite the pain and anguish Kahlo freely and openly expressed in her diary, her unquenchable thirst for life reveals itself. Her wit and alegria, her sense of irony and black humor all emerge here. [. . .] The self-portrait we find in the diary makes more human “la gran ocultadora” of her paintings, and replaces the implacable mask with intimate - at times horrifying details of affliction and despair. But Kahlo also shows her great strength, the resolve only intense suffering confers. “Anguish and pain,” she writes, “pleasure and death are no more than a process”. Kahlo’s diary dramatically and explicitly conveys this process, and is a testimony to her vigilant recording, in words and pictures, of her inexorable path toward death.’

Here are two extracts (the translation reproduces faithfully the line structure of the original even though the original line breaks often come at the edge of the page).

‘Today Wednesday 22 of January 1947
You rain on me - I sky you
You’re the fineness, childhood,
life - my love - little boy - old man
mother and center - blue - tender-
ness - I hand you my
universe and you live me
It is you whom I love today.
= I love you with all my loves
I'll give you the forest
with a little house in it
with all the good things there are in
my construction, you'll live
joyfully - I want
you to live joyfully. Although
I always give you my
absurd solitude and the monot-
ony of a whole
diversity of loves -
Will you? Today I'm loving
the beginnings and you love
your mother.’


‘Yesterday, the seventh of May
1953 as I fell
on the flagstones
I got a needle stuck in
my ass (dog’s arse).
They brought me
immediately to the hospital
in an ambulance.
suffering awful pains
and screaming all the
way from home to the British
Hospital - they took
an X ray - several
and located the needle and
they are going to take it out one
of these days with a magnet.
Thanks to my Diego
the love of my life
thanks to the Doctors’

This article is a slightly revised version of one first published on 13 July 2014.

Rhinoceros, who are you?

‘I, Dali, deep in a constant introspection and a meticulous analysis of my smallest thoughts, have just discovered that, without realising it, I have painted nothing but rhinoceros horns all my life.’ This is from Diary of a Genius by Salvador Dalí, the Spanish artist, famous for his surrealist paintings and eccentric looks/behaviour. Today marks the 120th anniversary of his birth.

Dalí was born in Figueres, northeast Spain, on 11 May 1904, the son of a well-known notary. He showed artistic talent from an early age, and went to study at the Royal Academy in Madrid, although he was expelled twice and never took his final exams. However, he did become friends with the great Spanish dramatist and poet, Federico García Lorca, and the film-maker Luis Buñuel, with whom he collaborated on several avant-garde projects.

In 1928, Dalí moved to Paris where he met Picasso and Miro, and, in particular, André Breton, with whom he formed a group of surrealists. Some of his most famous surrealist works date from this period - The Spectre of Sex Appeal and The Persistence of Memory for example. Also in Paris, in 1929, he met Helena Diakonova, known as Gala, a Russian immigrant who would become his model, partner and business manager.

During the Second World War, Dalí and Gala lived in the US, with Dalí not only painting but contributing to other artistic fields, such as cinema, theatre and ballet. He became something of a darling in high society, and famous men and women commissioned him to paint their portraits. While in the US, he wrote The Secret Life of Salvador Dalí. In 1948, the couple returned to Europe, spending time either at their residence in Port Lligat, Spain, or in Paris.

In the post war period, Dalí became more interested in history and science, and these subjects formed the themes of many of his later works such as Discovery of America by Christopher Columbus. During the 1970s, he created and inaugurated the Dalí Theatre-Museum in Figueres, which houses a large collection of his works. He died in 1989. Further biographical information is available from Wikipedia, the Gala-Salvador Dalí Foundation, or a New York Times review of the definitive biography - The Shameful Life of Salvador Dalí - by Ian Gibson.

Dalí was not much of a bona fide diarist. A fragment of a diary survives from his adolescence. This was privately printed by Stratford Press in a limited edition for the Reynolds Morse Foundation in 1962, and entitled A Dalí Journal: Impressions and Private Memories of Salvador Dalí - January, 1920. The ‘Salvador Dalí Book Collector’, who runs a blog on Dalí books, is underwhelmed: ‘Here, we find a rather pedestrian Dalí whose time is spent at school, hanging with friends, flirting with girls . . . just an average teenage boy.’

Much later, however, Dalí employed the diary form for what became the second volume of his autobiography. This was first published in France in 1963 as Journal d’un génie, then translated into English by Richard Howard for publication by Doubleday in the US and Hutchinson in the UK as Diary of a Genius. The French writer Michel Déon helped Dalí prepare this book, and provided a forward and notes, also translated by Howard for the first English edition.

‘Dali’, says Déon in his forward, ‘has jotted down helter-skelter his thoughts, his torments as a painter thirsting for perfection, his love for his wife, the story of his extraordinary encounters, his ideas about aesthetics, morality. philosophy, biology. [. . .] This diary is a monument erected by Salvador Dali to his own glory. It is entirely lacking in modesty, it has, on the other hand, a burning sincerity. The author lays bare his secrets with brazen insolence, unbridled humour, sparkling extravagance.’ Here are a few extracts.

15 July 1952
‘Once more I thank Sigmund Freud and proclaim louder than ever his great truths. I, Dali, deep in a constant introspection and a meticulous analysis of my smallest thoughts, have just discovered that, without realising it, I have painted nothing but rhinoceros horns all my life. At the age of ten, a grasshopper-child, I already said my prayers on all fours before a table made of rhinoceros horn. Yes, to me it was already a rhinoceros! I take another look at my paintings and I am stupefied with the amount of rhinoceros my work contains. Even my famous bread [1945 painting] is already a rhino horn, delicately resting in a basket. Now I understand my enthusiasm the day Arturo Lopez presented me with my famous rhinoceros-horn walking stick. As soon as I became its owner, it produced in me a completely irrational illusion. I attached myself to it with an incredible fetishism, amounting to obsession, to such an extent that I once struck a barber in New York, when by mistake he almost broke it by lowering too quickly the revolving chair on which I had gently put it down. Furiously, I struck at his shoulder hard with my stick to punish him, but of course I immediately gave him a very big tip so that he would not get angry. Rhinoceros, rhinoceros, who are you?’

18 July 1952
‘Even though my Assumption is making substantial and glorious progress, it frightens me to see that already it is the 18th of July. Every day time flies faster, and though I live from one ten minutes to the next, savouring them one by one and transforming the quarters of an hour into battles won, into feats and spiritual victories, all of which are equally memorable, the weeks run by and I struggle to cling with an even more vital completeness to each fragment of my precious and beloved time.

Suddenly Rosita comes in with breakfast and brings me a piece of news that throws me into a joyous ecstasy. Tomorrow will be the 19th of July, and that is the date on which Monsieur and Madame arrived from Paris last year. I give an hysterical yell: “So, I haven’t arrived yet! I haven’t arrived. Not before tomorrow will I come to Port Ligat. This time last year, I hadn’t even started my Christ! And now before I’ve so much as come here, my Assumption is almost on its feet, pointing to heaven!”

I run straight to my studio and work till I am ready to drop, cheating and taking advantage of not being there yet so as to have as much as possible already done at the moment of my arrival. All Port Ligat has heard that I am yet there, and in the evening, when I come down for supper, little Juan calls out, as gay as can be: “Señor Dali is coming tomorrow night! Señor Dali is coming tomorrow night!”

And Gala looks at me with an expression of protective love which so far only Leonardo has been able to paint, and it so happens that the fifth centenary of Leonardo’s birth is tomorrow.

In spite of all my stratagem to savour the last moments of my absence with an intoxicating intensity, here I am, finally home in Port Ligat. And so happy!’

1 May 1953
‘I spent the winter in New York as usual, enjoying enormous success in everything I did. We have been in Port Ligat a month, and today, on the same date as last year, I decide to resume my diary. I inaugurate the Dalinian May the first by working frenetically, as I am urged to do by a sweet creative anguish. My moustache has never been so long. My entire body is encased in my clothing. Only my moustache shows.’

This article is a slightly revised version of one first published on 11 May 2014.

Breeches have vanished!

‘Tide low, big lumbering vessels crowding up the little dock, a juvenile Celt waiting there, perchance in the desperate hope that some one intent on bathing might also appear, and keep him company. Getting on a bit of a floating raft we undressed placing clothes on the edge of a large clumsy vessel beside. Our swim over & pleasant enow, out we got, Celtic boy dressed & left; we mounting from raft to the bank side leisurely prepare to do the same. But ere long I discover that my pants are not! Breeches have vanished! Then ensued much searching & speculation, groping in the black recesses of the vessel below & finally I get into the water again & grope by the ships side, thinking that the breeks have fallen in.’ This is from the diaries of comic illustrator, Thomas Butler Gunn, who died 120 years ago today. Although English born, he spent a good deal of his adult life in New York, where he joined a set of characters loosely associated with Pfaff’s, a drinking establishment known for its literary and artistic clientele.

Gunn was born in 1826 in Banbury but moved with his family to the St. Pancras area of London in the 1830s and then to New Kent Road. He was articled to an architectural practise in Soho Square and he began contributing illustrations to various publications, not least Punch. Backed by his father, in 1949, he sailed to New York with two cousins, and began looking for work as an illustrator. While building up a network of potential customers, he also took poorly-paid work as an architect’s draughtsman. Moreover, he began to work as an editor and to write himself, publishing, in 1857, the comic Physiology of New York Boarding-Houses.

In 1854, Gunn returned to England to see his family and to propose to his childhood friend Hannah Bennett, though they did not marry at the time. He returned to New York in 1855. As the country moved towards civil war, in 1860 Gunn was sent to Charleston, South Carolina, as an artist-reporter by John Bigelow, editor of the New York Evening Post. And then, in 1962, he was engaged as correspondent by Charles Anderson Dana of the New-York Tribune. He joined General Heintzelman’s military camp, and reported on the Yorktown and Williamsburg battles. Further assignments followed, but in 1963, on receiving news from Hannah about his father’s ill-health, he returned to England.

Gunn’s father died in November that same year, and in December, finally, Hannah and Gunn married. They set up home on the outskirts of Banbury, and had one child who was still born. Gunn continued to write for newspapers often on historical themes, his articles sometimes being published in America; and he wrote verse. He died on 7 April 1904. A little further information is available from Wikipedia, Lehigh University, or the Missouri History Society.

Throughout his years in the US, Gunn kept diaries, indeed it is thanks to these diaries that his name is remembered today. Some 22 volumes are held by the Missouri History Society, and every page of every the volume is available as an image with a transcription: see Lehigh University, Digital Public Library of America, and Wikimedia Commons.

According to The Vault at Pfaff’s (An Archive of Art and Literature by the Bohemians of Antebellum New York): ‘The diaries . . . contain a wealth of information about the New York literary scene in general and the Pfaff’s bohemians in particular.’ Mentioned in the diaries, among others, are Frank Bellew, Sol Eytinge Jr., Fanny Fern, Thomas Nast, James Parton, Fitz James O'Brien, Alfred Waud and Walt Whitman. Here are several extracts.

2 September 1852
‘Thursday. Over to New York with Barth, quitting him at Barnums. To Office & to work. Barth came again at 1 or so. Dined together at Goslings, parting at Castle Garden, he across the bright water and I back to Lantern Office. [John] Brougham returned from Washington. Got no money from them. Returned to Office & [Alfred] Waud coming up, agreed to accompany him to Brooklyn for a bathe in the East River. Fagan called & left. To Brooklyn with Waud, - a dark moonless night. Calling on Davis, he at supped & disinclined to leave, we sought the place. Tide low, big lumbering vessels crowding up the little dock, a juvenile Celt waiting there, perchance in the desperate hope that some one intent on bathing might also appear, and keep him company. Getting on a bit of a floating raft we undressed placing clothes on the edge of a large clumsy vessel beside. Our swim over & pleasant enow, out we got, Celtic boy dressed & left; we mounting from raft to the bank side leisurely prepare to do the same. But ere long I discover that my pants are not! Breeches have vanished! Then ensued much searching & speculation, groping in the black recesses of the vessel below & finally I get into the water again & grope by the ships side, thinking that the breeks have fallen in. All in vain, - much objuration bestowed upon the Celtic boy, self-felecitation that my coat (& its contents,) had not gone also. At length, half an hour having passed thus, [Alfred] Waud is about to start to his room for a pair of his own, when we are horribly startled by a howl from immediately below us, in the dark abysm of the ship. It was Davis! - he had climbed aboard at the stern sailor-like & had possessed himself of my breeks, awaiting the discovery and all that ensued afterwards. [Alfred] Waud crossed to New York with me, we had an oyster stew in Broadway, then each on our several ways to bed.’

15 May 1859
‘Sunday. Reading and [phonography] all the sunny cool morning. [Jesse] Haney came after dinner, about to start for Philadelphia and presently Rawson Gill. Out, & with Haney to the Jersey City terminus, seeing him into the cars. To 16th Street, via 6th Avenue, supped at Mrs [Catharine] Potters with old acquaintances. Out with [William] Leslie, quitted him and to [E.H.] Chapin’s. Walking uptownwards, when nearly opposite Edwards’ was accosted by [Moses] Morse (who Married Mrs [Rebecca] Kidder) and whom I recollected. Strolled to Union Square with him.

He [Moses Morse] told how he had quitted Poughkeepsie and in conjunction with a Mr Wright started a Drawing and Painting Academy in this city, which was prospering. Said he had two children and spake of Master Will Kidder. I asked him of Lotty [Kidder], he told of her living at Westfarms and spake of [Arthur] Alleyne or Granville (his real name they say) as her husband, though he professed not to know whether any divorce had separated her from little [John] Whytal of whom he knew nothing. She had been rather more of a help to Granville than he to her, or late, said Morse, and was “getting on very well,” taught music and singing to a lady and “had a sewing-machine.” The ex-Mrs [Rebecca] Kidder was on a visit to some friends, down east. Exchanging addresses, we parted. A not-satisfactory man this Morse. [Charles] Damoreau used to pronounce him a lazy man, a sort of demi-intellectual sybarite. He (Morse) must have understood Mrs K. pretty thoroughly, wherefore how came he to marry her? Probably she suited him or he might have been unwilling to risk or endure the disagreables of a break-off. Many men, of a sort, drop into matrimony that way, nor care so much about the purity of their wives before marriage.

To Edwards! The Dane, [Carl] Knudsen there. Carrying away Reade’s “Love one little &c” belonging to [James] Parton, I find stray marginal notes, quite unconsciously autobiographical in their self-revelations, by the indomitable Fanny [Fern]. As also phonographic ones by Mort Thomson to the effect of “Gracy [Eldredge] I love you,” “Dear Gracy etc.” penciled wherever the text becomes passionately amorous. Now as [Jesse] Haney as well as I can read [phonography], Mort’s audience is perchance larger than he might desire. It’s understood that Mrs [Sophy] Thomson is very proud of the coming match. [Frank] Cahill, unless specially needed for some purpose, when he is gushingly received, gets the cold shoulder at Fan’s. Mort is on duty pretty well every night. Grace is understood, in stable phrase, to “feel her oats” a good deal - entertains the conviction that she could get married any day she likes. Likely enough. There may be a break-off in the match, yet, though I think it unlikely.’

11 July 1860
‘Wednesday. Writing till 6, queer and sickish in the morning. Phillips (of the Illustrated News) came up at 1, lunched with me and stayed half an hour. At 6 to 16th street, supped with [Jesse] Haney. In his room with him and Larrison subsequently. Out with Haney to Palace Garden; music, singing, dancing, promenading, cigars and lager. Met Eldredge and his wife and Perkins. Leaving, strolled down Broadway and into 745. Sally [Edwards] and Eliza [Edwards] there, the former practising [sic] on the piano, Matty [Edwards] being with Jack [Edwards], on an evening’s visit to Captain Worth and family, whom it appeared on the girl [Matty Edwards] and her brother [Jack Edwards]’s entrance, they had followed to the Rees’ residence in Brooklyn. Jack brought news of a fire at Washington Market, so after staying an hour at the house (we went in at 10) [Jesse] Haney and I set off to witness the conflagration. Dropping in at [132] Bleecker Street to change coat, and pausing at [N.G.] Shepherd’s door to invite his company I saw the evil face of [Fitz James] O’Brien in his room. (He appeared at our breakfast-table next morning.) To the fire. Three acres space of sheds and shanties burning, the top of the market proper covered with human beings, the flames lighting up the figures and faces, the streets, river and shipping with a wondrously picturesque effect. Making our way through the crowd and puddles and over the hose-pipes of the firemen, which lay strewn around like the entrails of megatherii or other extinct monsters, we went aboard the Barclay St ferry-boat and so to Hoboken, getting a fine view of the conflagration, both in crossing and returning. It was a cool, clear night, a tranquil crescent moon in the sky, her luster paling before that of the temporary smoke of the most exquisite colors, here and there diversified by a great wave of ruddy flame marked the scene of the night. The masts of the shipping in front stood out black and ragged, looking curiously irregular out of perpendicular. Disembarking, again on the New York side, we mounted the piles of the ferry-wharf and surveyed the burning area. Not many projecting objects were standing, it appeared a bed of bright fire, a row of men sharp and blackly-defined on a pier before us and more farther on, seemingly in the midst of the conflagration. When we got out into the street again, the steam fire-engines were at work, puffing like a Mississippi steam boat. We made two attempts to get into close quarters with the fire, threading the intricacies of butcher’s shops, amid the suspended carcases [sic] of sheep, by potato sacks, where rough men conversed or boys lay sleeping, through crowds of firemen and lookers-on, but could not penetrate very far, being checked, good-humouredly enough, by the police. Ahead of us was a blur and smother of conflagration, in front, an engine with a row of men, seemingly up in the air, working heavily, the machine rocking to their labour with a ricketty thud, disorderly monotonous to the ear. Homewards by an overcrowded 3rd Avenue Car. The last southward view we had of the fire, presented an ominous, angry, dusky red aspect, volumes of sullen firy smoke, such as might crown the citadel of Dante’s Dis, obscuring all the horizon. Got home about 2. Rawson Gill has gone to Central America again. His brother [Adolphus Gouverneur] is at Niagara with their mother [Elizabeth Gouverneur Griffin].’

A wonderful day of Life

’A wonderful day of Life
Very sunny & fine.
Left Fenton with Willie & E. soon after 10.
at 11 - Glorious King Olaf a magnificent triumph.’
These are a few lines from the diary of the famous English composer Edward Elgar, who died 90 years ago today. Five volumes of his diaries have been published so far, with two more volumes to come. But if the first volume is anything to go by, the majority of diary entries are very short and prosaic, little more than a record of events and meetings.

Elgar was born in 1857, in the small village of Lower Broadheath, outside Worcester, England. His father owned a music shop and was a church organist. Elgar himself had little formal education in music and was largely self-taught, studying classical literature and compositions on his own and learning to play several instruments. Early work experiences included being a teacher, local bandmaster, and a church organist. He composed music for local events and societies, gradually building a reputation. In 1889, he married  Caroline Alice Roberts, a successful novelist. They spent much of their lives in and around Malvern, and Caroline acted as Elgar’s business manager and social secretary. They had one daughter, Carice.

Elgar’s breakthrough came in 1899 with a set of orchestral pieces - Enigma Variations - a composition that established him as a leading figure in British music. The following year, he composed another major work, the oratorio The Dream of Gerontius, which many consider his masterpiece. In 1904, Elgar was knighted, and from 1905 to 1908 he was the University of Birmingham’s first professor of music. His Pomp and Circumstances works were written between 1901 and 1907. 

During World War I, Elgar wrote occasional patriotic pieces. After the death of his wife in 1920, he virtually stopped composing, returning to Worcestershire in 1929. A friendship with George Bernard Shaw is said to have stimulated him to further composition, and at his death - on 23 February 1934 - he left an unfinished a third symphony, a piano concerto, and an opera. Further information is available from Wikipedia, Encyclopaedia Britannica, or the Edward Elgar website.

Elgar may have been a great composer, but he was not a great diarist. Nevertheless, all his extant diaries - which had been used by generations of biographers but never previously been published - are being published in seven volumes as part of the ‘Collected Correspondence’. Five of the diaries have been transcribed and edited by Martin Bird and published by Elgar Works. Although Bird died in 2019, Paul Chennell has been appointed to conclude the final two volumes.

As Bird explains in his introduction to the first volume - Provincial Musician: Diaries 1857-1896 - the diaries were not kept by Elgar alone.

‘The Elgar family diaries, as we know them today, comprise a series of diaries and notebooks by Edward and Alice Elgar and their daughter Carice, covering a period of fifty years, from 1889 to 1939. This period encompasses the marriage of Edward and Alice through to the death of Carice’s husband. Samuel Blake, just before the outbreak of the Second World War. [. . .]

It seems likely that for much of the time there were multiple diaries in use: a family diary in which was written a retrospective record of the Elgars’ activities; Edward’s appointments diary; Edward’s diary containing his own retrospective record of activities; and a ‘tear off’ diary pad on which daily household appointments could be recorded. Carice, too, kept a diary, though none before 1921 is known to survive.

The first known diary to survive intact, of 1889, is Edward’s. In it he makes brief notes of his daily activities. The 1890 diary is also Edward’s, though here Alice provides the occasional entry. By 1891 the diaries have become very much a joint affair, with the balance of entries shifting gradually from Edward to Alice. From March 1895 entries are almost entirely by Alice, with the occasional comment by Edward. She kept up her recording of Elgarian activities until shortly before her death in 1920. From 1895 to 1920 just two of Edward’s diaries are known to survive, those for 1918 and 1920, and a few for the years after Alice’s death.

There is also a series of Elgar’s notebooks from some of the major holidays he took - to Paris in 1880, to Scotland in 1884. to Bavaria, Alassio, the Mediterranean cruise of 1905 and the West Country tour of 1910.’

The first volume’s contents offer a multitude of very short prosaic diary entries, sometimes combined with an explanatory narrative. Here’s a few examples.

17 August 1880
‘Left Victoria with C.E.P. (travelling 2nd Class) for Newhaven went on board the “Bordeaux”, about 10.30. Rough passage, not very ill, arrd. Dieppe abt. 6.30. Washed, had coffee &c. started for Paris 7.39, arrived there at 1.45, two hours late.’

18 August 1880
‘Wednesday, at Hotel Buckingham, Rue Pasquier, 32. Near the Madeleine, recommended here by Beare. Washed &c. Lunched at 3. Walked down to Notre Dame past the Louvre. Table d’hote at 6, too tired to eat. Strolled up the Boulevards until 10. Then bed. Very fine & hot.’

19 August 1880
‘Thursday. Slept well & comfortable rose at 9.30. started out at 11, saw S. Augustin Madeleine, S. Roch. portion of the Louvre, paintings & sculpture &c, refreshed. Palais Royal, all the shops &c. Charlie went home to write, went alone into Jardin de Tuilleries Place de la Concorde. Cabinet 15c. hair! Home to table d’hote at 6. rain & thunder &c: went into café opposite for billiards with some English, laughed consumedly at two Frenchmen playing. Afterwards, being fine, walked up the Champs Elysees to Arc de Triomphe, back again to Café chantant (programme) rather leggy. Home at 11’

1 January 1890
‘New-year’s day. Very fine & cold.
Miss E. Lander & Mr J. C. Ledlie to luncheon. Music after.’

2 January 1890
‘To the Misses Raikes. 15 Kensington Gardens Terr till Saturday Arrived in time for luncheon.
(E. to Beares)’

3 January 1890
‘at Ken: Gard: Terrace
E. called at Tuckwoods about Voluntaries & song ‘Man’
In afternoon to Farm St then Benediction Music at Ken. Gard: Terr present Genrl. R. Raikes Mr R. & Mrs R. Raikes Mrs & Miss Lambcn & Mr. &c’

4 January 1890
A & E to Tudor exhbn. called Schott’s
After luncheon, called Miss Raikes Talbot Sq & Miss Marshall Home to Oaklands 6.10’

5 January 1890
‘Very dull & wet.
At home all day.’

30 October 1896
‘A wonderful day of Life
Very sunny & fine.
Left Fenton with Willie & E. soon after 10.
at 11 - Glorious King Olaf a magnificent triumph.
D.G.
Back to Fenton about 4.
The Pennys to tea.’

Luminous shards

Edvard Munch, one of Norway’s most famous sons, and the painter of one of the world’s most famous paintings, The Scream, died 80 years ago today. His so-called ‘private journals’ were published a decade or so ago by the University of Wisconsin Press. The book's editor has described the text as full of ‘luminous shards’ but, nevertheless, this work is not a journal/diary but a book of poetry. 

Munch was born in 1863, in Loten, Norway, though the family soon moved to Oslo (then called Christiania and renamed to Kristiania in 1877). His childhood was much affected by the ill health of those around him: his mother died from tuberculosis when he was just five, and some years later his sister also died from the same disease; moreover his father, a doctor, suffered from mental illness. 

Munch enrolled in a technical college in 1879 to study engineering but soon left to take up painting. From 1881, he studied at the Royal School of Art and Design, where he was exposed to a bohemian lifestyle, a stark contrast to his Lutheran upbringing. In 1883, he took part in his first public exhibition. According to Wikipedia, a full-length portrait of Karl Jensen-Hjell, a notorious bohemian-about-town, earned some scathing criticism: ‘It is impressionism carried to the extreme. It is a travesty of art.’

During visits to Paris in the late 1880s, he was exposed to Post-Impressionism styles; and in the 1890s he involved himself with the Symbolist movement in Berlin, often spending his winters in the city. His most famous painting - The Scream - is said to encapsulate the existential angst and despair that were central to his oeuvre. Throughout his life, he faced numerous personal challenges, including alcoholism and, in 1908, a nervous breakdown, which led him to seek therapy and adopt a more balanced lifestyle. 

Munch’s later years were marked by increasing recognition and numerous exhibitions, particularly in Germany, where he had a significant impact on the development of German Expressionism. Although he had several relationships with women, none seems to have lasted more than a few years. He died on 23 January 1944, leaving more than 20,000 works to the City of Oslo. See Wikipedia, Encyclopaedia Britannica and the official Munch website for more information.

There are tantalising references (in biographies) to diaries kept by Munch, especially when he was younger - see, for example, Edvard Munch: Paintings, Sketches, and Studies by Arne Eggum (available to view at Internet Archive). However, the only published diary/journal that I can find is The Private Journals of Edvard Munch: We Are Flames Which Pour Out of the Earth, as edited and translated by J. Gill Holland (University of Wisconsin Press, 2005). This can be sampled at Googlebooks.

The blurb gives some information about the book’s text: ‘. . . Munch considered himself a writer as well as a painter. [In Paris and Berlin . . .] he evolved a highly personal style in paintings and works on paper. And in diaries that he kept for decades, he also experimented with reminiscence, fiction, prose portraits, philosophical speculations, and surrealism. [. . .] The journal entries in this volume span the period from the 1880s, when Munch was in his twenties, until the 1930s, reflecting the changes in his life and his work. [. . .] Though excerpts from these diaries have been previously published elsewhere, no translation has captured the real passion and poetry of Munch’s voice. This translation lets Munch speak for himself and evokes the primal passion of his diaries.’

And here is a helpful paragraph from Holland’s introduction: ‘What general claims can be made for these pages from Munch’s journals? It is clear that passages in the journals are imaginary. It should also be obvious that a range of moods and tones colors his entries. His journals were for decades a laboratory in which he recorded scenes, visions, stories, and meditations. I have not tried to follow any chronological order in organizing the sections. The entries are seldom dated; Munch’s memory often reached far back into the past. Perhaps these passages should be read not as biographical items strung along a time line but instead like William Wordsworth’s “spots of time,” magical moments to which the English poet returned for four decades but that were never published in his lifetime. Munch’s journal entries “can be appreciated as luminous shards picked from the mountain of colors lying outside the glasscutter’s workshop” ’.

That said, the work is better described as a collection of poetry than a journal, and has no dated entries. Here for example is one famous extract - describing how he came to paint The Scream. 

One evening I was walking
out on a hilly path
near Kristiania —
with two
comrades. It
was a time when life
had ripped my
soul open.
The sun was going down—had
dipped in flames below the horizon.
It was like
a flaming sword
of blood slicing through
the concave of heaven.
The sky was like
blood — sliced with
strips of fire
— the hills turned
deep blue
the fjord — cut in
cold blue, yellow, and
red colors —

The exploding
bloody red — on
the path and hand railing
—my friends turned
glaring yellow white—
—I felt
a great scream
— and I heard,
yes, a great
scream —
the colors in
nature — broke
the lines of nature
— the lines and colors
vibrated with motion
—these oscillations of life
brought not only
my eye into oscillations,
it brought also my
ears into oscillations —
so I actually heard
a scream—
I painted
the picture Scream then.