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the importance of Chaplin and his art 7
Faure in 1922 hailed Chaplin as a poetic creator of myths and symbols who "conceives the universe in its totality and translates it in terms of the moving picture." He also emphasized Chaplin's creation of a "cineplastic" art and his kinship with Shakespeare in the humanization of man's conflict with fate. Gilbert Seldes, in his "Seven Lively Arts," gave an enthusiastic and detailed analysis of Chaplin's technique and screen character.
The author of "Limehouse Nights," Thomas Burke, a Londoner with a background similar to Chaplin's, writes of his friend's personality with perhaps more understanding than anyone. Burke claims that this man, who has "brought the whole civilized and uncivilized world together in warm laughter and delight," and "the first man in the history of the world of whom it can be truly and literally said that he is world-famous," is "unknowable. . . . It is almost impossible to locate him. . . . He is first and last an actor, possessed by this, that, and the other. He lives only in a role, and without it he is lost. . . . He can be anything you expect him to be, and anything you don't expect him to be."
Impelled by a fierce vitality and exuberant spirit, he can be a stimulating talker. "With a few elementary facts upon a highly technical subject," his receptive and retentive mind can so work upon them that he can carry on a discussion with an expert on that subject in such a way as to make that expert consider him an authority, too. ... In private^ life he is selfish, self-centered, erratic, moody and vaguely dissatisfied with life. But somehow he has "been able to fuse the remnants of wistfulness and simplicity he has into a work of art." Burke feels that the quality of "goodness" in Charlie is that of the typical Cockney. "His appeal is to the meek, and the meek, though they have not yet inherited the earth, make the bulk of its people."
Waldo Frank, probing for the wellsprings of Chaplin's