In my actual imaginative contact with life, I am vastly more responsive to beauty than to horror—indeed, I never experience real cosmic horror except in infrequent nightmares. However, when I come to record my various imaginative experiences, I generally find that only the horror items have any uniqueness or originality. Others have seen the same beautiful things that I have seen, & have sung them more nobly. Dunsany, indeed, has said exquisitely almost everything I could possibly wish to say; so that when I indulge in sheer phantasy I can do no more than imitate him. Thus horror alone is left as my peculiar kingdom, & in it I must hold my lowly reproduction of a Plutonian court.
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I am probably the least sensuous of all living beings; being almost exclusively visual and quasi-abstract in imagination, and tending to view and enjoy all things as a passive, detached, and sometimes remote spectator. Those arts which appeal most to the ideational imagination—the sense of drama, pageantry, historic flux, collective organisation, or escape from the natural limitations of time, space, and natural law—are undoubtedly those which appeal chiefly to me. Even my strong love of architectural and decorative beauty is probably largely dependent upon the historical bearings of the forms and motifs in which I delight. I am not wholly insensible to abstract form, but seem to relish the associative element in art more instantly and acutely than the lyrical or mathematical element . . . I don't really revel in anything unless it reminds me of something else either real or visionary—unless it opens up visual avenues of linked pseudo-recollections leading to sensations of ego-expansion and liberation . . . usually bringing in the element of time, somehow based on the past, and harbouring hints of an elusive, intangible kind of adventurous expectancy.
There is something that even now strikes me as strange. Originally I was not possessed by gloomy thoughts. My concern, what confronted me with my real problem, was beauty alone. But I do not think that the war affected me by filling my mind with gloomy thoughts. When people concentrate on the idea of beauty, they are, without realizing it, confronted with the darkest thoughts that exist in this world. That, I suppose, is how human beings are made.
I’m not sure there’s really that much of a separation between imagination and reality when it comes to creatures. My inspiration is almost always from something nature has created. Nature is relentless and astonishingly diverse in the amount and variety of life it presents. It’s really what parts you put together and how far from reality you want to go when you design creatures.
Horror is a shock, a time of utter blindness. Horror lacks every hint of beauty. All we can see is the piercing light of an unknown event awaiting us. Sadness, on the other hand, assumes we are in the know... The light of horror thus lost its harshness, and the world was bathed in a gentle, bluish light that actually beautified it.
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