had heard of him in boyhood. One story in particular had stirred my imagination for, ashamed all my boyhood of my lack of physical courage, I admired what was beyond my imitation. He thought that any weakness, even a weakness of body, had the character of sin and while at breakfast with his brother, with whom he shared a room on the third floor of a corner house, he said that his nerves were out of order. Presently he left the table, and got out through the window and on to a stone ledge that ran along the wall under the windowsills. He sidled along the ledge, and turning the corner with it, got in at a different window and returned to the table. “My nerves,” he said, “are better than I thought.”
Nettleship said to me: “Has Edwin Ellis ever said anything about the effect of drink upon my genius?” “No,” I answered. “I ask,” he said, “because I have always thought that Ellis has some strange medical insight.” Though I had answered no, Ellis had only a few days before used these words: “Nettleship drank his genius away.” Ellis, but lately returned from Perugia where he had lived many years, was another old friend of my father’s but some years younger than Nettleship or my father. Nettleship had found his simplifying image, but in his painting had turned away from it, while Ellis, the son of Alexander Ellis, a once famous man of science, who was perhaps the last man in England to run the circle of the sciences without superficiality, had never found that image at all. He was a painter and poet, but his painting, which did not interest me, showed no influence but that of Leighton. He had started perhaps a couple of years too late for Pre-Raphaelite influence, for no great Pre-Raphaelite picture was painted after 1870, and left England too soon for that of the French painters. He was, however, sometimes moving as a poet and still more often an astonishment. I have known him cast something just said into a dozen lines of musical verse, without apparently ceasing to talk; but the work once done he could not or would not amend it, and my father thought he lacked all ambition. Yet he had at times nobility of rhythm – an instinct for grandeur, and after thirty years I still repeat to myself his address to Mother Earth —
“O mother of the hills, forgive our towers,
O mother of the clouds forgive our dreams.”
And there are certain whole poems that I read from time to time or try to make others read. There is that poem where the manner is unworthy of the matter, being loose and facile, describing Adam and Eve fleeing from Paradise. Adam asks Eve what she carries so carefully, and Eve replies that it is a little of the apple-core kept for their children. There is that vision concerning Christ the Less, a too hurriedly written ballad, where the half of Christ sacrificed to the divine half “that fled to seek felicity” wanders wailing through Golgotha, and there is The Saint and the Youth, in which I can discover no fault at all. He loved complexities – “Seven silences like candles round her face” is a line of his – and whether he wrote well or ill had always a manner which I would have known from that of any other poet. He would say to me, “I am a mathematician with the mathematics left out” – his father was a great mathematician – or “A woman once said to me, ‘Mr Ellis, why are your poems like sums?’” And certainly he loved symbols and abstractions. He said once, when I had asked him not to mention something or other, “Surely you have discovered by this time that I know of no means whereby I can mention a fact in conversation.”
He had a passion for Blake, picked up in Pre-Raphaelite studios, and early in our acquaintance put into my hands a scrap of notepaper on which he had written some years before an interpretation of the poem that begins
“The fields from Islington to Marylebone,
To Primrose Hill and St. John’s Wood,
Were builded over with pillars of gold,
And there Jerusalem’s pillars stood.”
The four quarters of London represented Blake’s four great mythological personages, the Zoas, and also the four elements. These few sentences were the foundation of all study of the philosophy of William Blake that requires an exact knowledge for its pursuit and that traces the connection between his system and that of Swedenborg or of Boehme. I recognised certain attributions, from what is sometimes called the Christian Cabbala, of which Ellis had never heard, and with this proof that his interpretation was more than fantasy he and I began our four years’ work upon the Prophetic Books of William Blake. We took it as almost a sign of Blake’s personal help when we discovered that the spring of 1889, when we first joined our knowledge, was one hundred years from the publication of The Book of Thel, the first published of the Prophetic Books, as though it were firmly established that the dead delight in anniversaries. After months of discussion and reading we made a concordance of all Blake’s mystical terms, and there was much copying to be done in the Museum and at Red Hill, where the descendants of Blake’s friend and patron, the landscape painter John Linnell, had many manuscripts. The Linnells were narrow in their religious ideas and doubtful of Blake’s orthodoxy, whom they held, however, in great honour, and I remember a timid old lady who had known Blake when a child saying, “He had very wrong ideas, he did not believe in the historical Jesus.” One old man sat always beside us, ostensibly to sharpen our pencils but perhaps really to see that we did not steal the manuscripts, and they gave us very old port at lunch, and I have upon my dining-room walls their present of Blake’s Dante engravings. Going thither and returning Ellis would entertain me by philosophical discussion varied with improvised stories, at first folk-tales which he professed to have picked up in Scotland, and, though I had read and collected many folk tales, I did not see through the deceit. I have a partial memory of two more elaborate tales, one of an Italian conspirator flying barefoot, from I forget what adventure through I forget what Italian city, in the early morning. Fearing to be recognised by his bare feet, he slipped past the sleepy porter at an hotel, calling out “number so and so” as if he were some belated guest. Then passing from bedroom door to door he tried on the boots, and just as he got a pair to fit, a voice cried from the room: “Who is that?” “Merely me, sir,” he called back, “taking your boots.” The other was of a martyr’s Bible, round which the cardinal virtues had taken personal form – this a fragment of Blake’s philosophy. It was in the possession of an old clergyman when a certain jockey called upon him, and the cardinal virtues, confused between jockey and clergyman, devoted themselves to the jockey. As whenever he sinned a cardinal virtue interfered and turned him back to virtue, he lived in great credit, and made, but for one sentence, a very holy death. As his wife and family knelt round in admiration and grief he suddenly said “damn.” “O my dear,” said his wife, “what a dreadful expression.” He answered, “I am going to heaven,” and straightway died. It was a long tale, for there were all the jockey’s vain attempts to sin, as well as all the adventures of the clergyman, who became very sinful indeed, but it ended happily for when the jockey died the cardinal virtues returned to the clergyman. I think he would talk to any audience that offered, one audience being the same as another in his eyes, and it may have been for this reason that my father called him unambitious. When he was a young man he had befriended a reformed thief and had asked the grateful thief to take him round the thieves’ quarters of London. The thief, however, hurried him away from the worst saying, “Another minute and they would have found you out. If they were not the stupidest of men in London, they had done so already.” Ellis had gone through a detailed, romantic and witty account of all the houses he had robbed and all the throats he had cut in one short life.
His conversation would often pass out of my comprehension, or indeed I think of any man’s, into a labyrinth of abstraction and subtlety and then suddenly return with some verbal conceit or turn of wit. The mind is known to attain in certain conditions of trance a quickness so extraordinary that we are compelled at times to imagine a condition of unendurable intellectual intensity from which we are saved by the merciful stupidity of the body, and I think that the mind of Edwin Ellis was constantly upon the edge of trance. Once we were discussing the symbolism of sex in the philosophy of Blake and had been in disagreement all the afternoon. I began talking with a new sense of conviction and after a moment Ellis, who was at his easel, threw down his brush and said that he had just seen the same explanation in a series of symbolic visions. “In another moment,” he said, “I should have been off.” We went into the open air and walked up and down to get rid
