VI
HOW ONE WRITES AND SPEAKS UNDER A CENSORSHIP
To give an idea of how writing and speaking are done under a censorship, here are some examples taken from my lectures.
I had to make it plain to my hearers that I well understood the contents of certain books, even if I might not allude to them directly. For instance, it was impossible to quote the scene in Dziady where the martyrdom of Poland is compared to that of the Crucifixion, but I could refer to it. I therefore spoke as follows in my introduction:—
"You may learn from me how your literature "of the first half of this century is reflected in the mind of a European reader; you may learn what impression of your intellectual life a favourably disposed foreigner receives.
"For a favourably disposed foreigner I am. No merely artistic or intellectual interest, but a broader human sympathy has drawn me to this subject. There is in it something which not only occupies but lays hold of the mind; the modern literature of Poland excites the emotions in a higher degree than that of most other nations. There is something reserved, not easily penetrable in it. Or rather, it is at once closed and open, according to the point of view at which one places oneself. It reminds us in this respect of the celebrated painting by Gabriel Max, The Handkerchief of Veronica, a painting I do not value highly artistically, for it is a piece of artifice, not a work of art, but which well illustrates what I mean. At the first glance the countenance seems to be that of a corpse; the eyes are tightly shut, the expression lifeless. But when you reach the right point of view the face suddenly assumes life, the eyes open and turn a sorrowful and solemn gaze on the spectator."
Direct mention of the various Polish attempts at insur-
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