Impressions and Comments — Reading Companion

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Ellis, Havelock, 1859-1939 Project Gutenberg 2005 Not confirmed
English essays Readers of public-domain and historical texts
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Words 57,214
Reading time 249 min
Text sections 6

The catalog record for Impressions and Comments — Reading Companion provides practical reading context through 57,214 words, 4 hr 9 min estimated reading time, and 6 detected text sections.

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Havelock Ellis's 'Impressions and Comments' presents dated diary-like entries blending personal reflection on nature, art, and society with a candid, idiosyncratic prose style that demands active reader engagement.
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Benedictines were occupied--in the intervals of more supra-mundane avocations--in perfecting, not only the ancient recipe of their liqueur, but also the physical type of the feminine population among which they laboured. The type I have in mind sometimes rather recalls the face of Baudelaire, who, by his mother's family from which he chiefly inherited, the Dufays, belonged, it is held probable, to Normandy.

_August 9._--Typical women of Normandy often have a certain highly-bred air. They are slender when young, sometimes inclined to be tall, and the face--of course beautiful in complexion, for they dwell near the sea--is not seldom refined and distinguished. See the proud, sensitive nostrils of that young woman sweeping the pavement with her broom in front of the house this morning; one can tell she is of the same race as Charlotte Corday. And I have certainly never found anywhere in France women who seem to me so naturally charming and so sympathetic as the women who dwell in all this north-western district from Paris to the sea. They are often, as one might expect, a little English-like (it might be in Suffolk on the other side of the Channel, and Beauvais, I recall, has something of the air of old Ipswich), but with a vivacity of movement, and at the same time an aristocratic precision and subtlety one fails to find in the English. When a pretty English girl of the people opens her mouth the charm is often gone. On the contrary, I have often noticed in Normandy that a seemingly commonplace unattractive girl only becomes charming when she does open her mouth, to reveal her softness of speech, the delicately-inflexed and expressive tones, while her face lights up in harmony with her speech. Now--to say nothing of the women of the south, whose hard faces and harsh voices are often so distressing--in Dijon, whence I came to Normandy this time, the women are often sweet, even angelic of aspect, looking proper material for nuns and saints, but, to me at all events, not personally so sympathetic as the Norman women, who are no doubt quite as good but never express the fact with the same air of slightly Teutonic insipidity. The men of Normandy I regard as of finer type than the Burgundian men, and this time it is the men who express goodness more than the women. The Burgundian men, with their big moustaches turned up resolutely at the points and their wickedly-sparkling eyes, have evidently set before themselves the task of incorporating a protest against the attitude of their women. But the Norman men, who allow their golden moustaches to droop, are a fine frank type of manhood at the best, pleasantly honest and unspoilt. I know, indeed, how skilful, how wily, how noble even, in their aristocratic indifference to detail, these Normans can be in extracting money from the stranger (have I not lunched simply at the Hostel Guillaume-le-Conquérant in the village of Dives for the same sum on which I have lived sumptuously for three days at the Hotel Victoria in the heart of Seville?), but the manner of their activity in this matter scarcely seems to me to be happily caught by those Parisians who delight to caricature, as mere dull, avaricious plebeians, "Ces bons Normands." Their ancient chronicler said a thousand years ago of the Normans that their unbounded avarice was balanced by their equally unbounded extravagance. That, perhaps, is a clue to the magnificent achievements of the Normans, in the spiritual world even more than in the material world.

_August_ 10.--On leaving France by the boat from Dieppe I selected a seat close to which, shortly afterwards, three English people--two young women and a man--came to occupy deck-chairs already placed for them by a sailor and surrounded by their bags and wraps. Immediately one of the women began angrily asking her companions why her bag had not been placed the right side up; _she_ would not have her things treated like that, etc. Her companions were gentle and conciliatory,--though I noticed they left her alone during most of the passage,--and the man had with attentive forethought made all arrangements for his companions' comfort. But, somehow, I looked in wonder at her discontented face and heard with surprise her peevish voice. She was just an ordinary stolid nourishing young Englishwoman. But I had been in France, and though I had been travelling for a whole fortnight I had seen nothing like this. She lay back and began reading a novel, which she speedily exchanged for a basin. I fear I felt a certain satisfaction at the spectacle. It is good for the English barbarian to be chastised with scorpions.

Havelock Ellis's Impressions and Comments opens with a preface that frames the entire work as a collection of 'random leaves'—dated entries that record 'personal reaction to the outer and inner world.' Ellis explicitly warns readers that these are not a conventional book but 'loose pages from a Journal,' more personal and idiosyncratic, requiring the reader to fill in blanks. The entries range from a July 1912 observation of a woman clinging to a flat to a discussion of obscenity in literature, revealing a mind that moves freely between the concrete and the abstract.

Diction and the Deliberately Unfinished

Ellis's prose is marked by a deliberate roughness that mirrors his stated purpose. In the preface, he describes his medium as 'only words, words that are flung about in the street and often in the mud.' This self-conscious coarseness is not carelessness but a stylistic choice: he wants his impressions to feel immediate, unpolished. The entries often end abruptly, without resolution, as if the thought has simply stopped. For instance, the July 24 entry begins with a specific visual—'a young woman was clinging to the flat'—but the excerpt cuts off before any conclusion. This technique forces the reader to sit with the image, to supply the missing context. Ellis trusts that his fragments, like leaves, will be 'caught by the hand of the idle passer-by' and contemplated.

Voice and the Personal as Universal

Ellis's voice is that of a cultivated observer who refuses to separate the personal from the philosophical. He recounts a memory of seeing red roses in the Australian bush 'nearly forty years ago' with the same seriousness he applies to discussing Linnaeus's legendary reaction to gorse. The entry on obscenity moves from a remark by dancer Gaby Deslys about London audiences to a meditation on Shakespeare and the Bible, all in the same conversational tone. Ellis does not signal shifts; he assumes the reader will follow. This voice is intimate but not confessional—he shares reactions, not secrets. The result is a text that feels like overheard thought, a mind in dialogue with itself.

Structure and the Logic of Juxtaposition

The book's structure is chronological by date, but the entries are not sequential in argument. An entry on a garden in April sits next to one on obscenity, with no transition. Ellis defends this in the preface: 'such Impressions and Comments, stated absolutely and without consideration for divergent Impressions and Comments, may seem… to lack explicit reasonableness.' He claims they spring from 'a central vision' and 'a central faith.' The reader must hold multiple facets in mind to see the 'great crystal of life.' This structure privileges association over logic, making the book a mosaic rather than a narrative. Each entry is a facet, and meaning emerges from their accumulation.

Recurring Details: Nature, Art, and the Human Worm

Three motifs recur across the excerpts: nature observed with wonder, art as a medium for truth, and what Ellis calls 'the Human Worm, that Golden Wire wherefrom hang all the joys and the mysteries of Art.' The garden entry dwells on flowers as 'young and virginal, yet already profuse and beautiful,' linking natural beauty to a universal human response. The obscenity discussion treats art—Rabelais, Shakespeare—as a vehicle for profound truth hidden beneath surface offense. And the 'Human Worm' appears as both absurd and precious, the source of both joy and mystery. These threads are not developed systematically but appear and reappear, giving the book a thematic coherence beneath its fragmentary surface.

Readers approaching Impressions and Comments should expect to work. Ellis's fragments reward patience and rereading; they are not arguments to be followed but moments to be inhabited. Pay attention to the dates—they mark not just time but mood. And note how often Ellis returns to the limits of language: 'only words' to capture 'the Beauty and Gaiety of the World.' This is a book that asks you to see the leaves, not just the tree.

I finished Impressions and Comments and found myself slowing down, almost involuntarily—Ellis writes like someone thinking out loud, testing each observation against the light. That honesty stayed with me, the way a quiet evening lingers. It reminded me of another voice, softer but similarly unguarded, in Is Polite Society Polite? and Other Essays — Key Ideas to Explore. Both ask you to pause, not to answer, just to notice. That’s rare company.

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