Far Off Things Part 3

The Opera Comique was somewhere in Wych Street, which has gone the way of the streets of Babylon and Troy; purple blossoms and big hotels and other theatres that I know not grow now in the place where it once stood. We went to the upper boxes of the Opera Comique and enjoyed ourselves very well. I remember my father being especially pleased with the Pirate King's defence of his profession: "Compared with respectability it's almost honest," or words to that effect. But, oddly enough, I was a little disappointed. There was not the sense of gaiety that I had expected. For one thing the music reminded me of the cla.s.sic glees and madrigals which I had heard discoursed by the Philharmonic Society at Hereford, where I was at school, and I did not want to be reminded of Hereford. And the female chorus hardly looked as thoughtless as I could have wished; it seemed to me that they might very well have come fresh from the rectory like myself. Of course, it was all very well to be ladylike, and so forth; but what I asked of the stage was careless devilry, the suggestion, at all events, of naughtiness. In fact, my att.i.tude was perilously near to that of the Arkansas audiences as a.n.a.lysed by the Duke in "Huckleberry Finn": "What they wanted was low comedy--and maybe something ruther worse than low comedy." But I was not really quite so bad as the "Arkansaw lunkheads." We went on another night to "Les Cloches de Corneville," a most harmless production, I am sure; and _that_ was what I wanted. I was enchanted from the rising of the curtain; there was the sunlit scene in Normandy, charming, smiling, and a whole row of pretty girls, evidently as thoughtless as the lightest heart could wish, dancing down to the footlights and singing:--

Just look at that, Just look at this, Don't you think we're not amiss?

A glance give here, A glance give there, Tell us if you think we're dear.

And--not one of these girls looked as if she could have come from any conceivable rectory. Decidedly, "Les Cloches de Corneville" was the comic opera for my money. What a pleasing thrill the scene afforded when the entire village, for some reason that I cannot well remember, dressed up as Crusaders and Crusaderesses, and came suddenly into the room of Gaspard, the miser, and the big bell began to toll and the gold was poured out in a torrent on the ground. "When the heir returneth, then shall ring the bell, so the legend runneth, so the old men tell"; in some such words was this grand peripeteia announced in the text. So the heir no doubt returned and married the extra pretty girl whose name I have forgotten--she was not Serpolette, I know, for Serpolette was comic, delightfully, impudently comic, but still comic, and so no mate for the hero. Serpolette, I think, having regard to the Unities, ought to have married the thin but amusing a.s.sistant of the Bailie; but I do not know whether this were so. But I am sure everybody was happy ever after, and of "Les Cloches" and other comic operas like it I say, in the words of Coleridge's friend: "Them's the jockeys for me!"

I have never been able to make up my mind as to the respective merits of "Les Cloches de Corneville" and "Madame Favart," which was running at the Strand. "Les Cloches" had the more coherent plot of the two, and the great scene of the miser and the crusaders was more effective in its stagey way than anything in "Madame Favart," but, then, Florence St.

John was Madame Favart, and to old playgoers I need say no more. And Marius, a delightful French comedian, was in the cast; and there were those songs dear to memory: "Ave, my mother," "The Artless Thing," "To Age's Dull December," and

Pair of lovers meet, Stolen vows are sweet, Sighs, etcetera.

Love is all in all, On a garden wall, Never heed papa.

This was sung by Marius, who had no voice in particular, but an infinite Gallic relish and unction and finish in everything that he did. The fourth piece that we went to in this wonderful week was "The Daughter of the Drum Major," at the Alhambra, then a theatre, with an extremely roomy, comfortable pit. This last piece made but little impression on me. From my recollection, it seems to have been more in the modern mode, that is, a mere excuse for showing off a "beauty chorus" without the little touch of thin, theatrical but pleasant romance that delighted me in the two other plays. But the poverty of the play was atoned for by the happy circ.u.mstance that before going to it we dined at the Cavour.

And the Cavour in 1880 was exactly like the Cavour in 1915, save in this one matter, that on the earlier date there was included in the price of the dinner a bottle of violet wine.

Looking back through the years and comparing the London of the early 'eighties with the London of to-day, one circ.u.mstance emerges very clearly in my mind: that is, that the early London had an infinitely "smarter," wealthier air than the later. I say "air" advisedly, to make it clear that I knew nothing of the real interior life of the place, or of the resources of its rich inhabitants. I judged of London purely by its exterior aspects, as one may judge of a pa.s.sing stranger in the street, and decide that he goes to an expensive tailor, without knowing anything of the condition of his banking account. So, I say that the outward show and lineaments of the London of 1880 were much more refulgent and splendid than those of the last few years. I was a good deal surprised when the truth of this first dawned on me some three or four years ago. For I believe that as a matter of fact the new London is a much wealthier, more luxurious, more extravagant place than the old.

The rich people of to-day spend hundreds instead of tens, thousands for the hundreds of their fathers; the "pace" of the splendid has increased enormously in the last thirty-five years; and all the facilities for expending very large sums of money have also increased to a huge extent.

So well was I convinced of all this when I fell to comparing the London of my boyhood with the London of my middle age that at first I thought that there must be a fallacy somewhere, and I was very willing to believe that those early impressions of mine were illusions, natural enough in a lad who had never seen any more splendid streets than those which the Newport and Cardiff of those days had to show, than the venerable, peaceful, ancient ways of Hereford, whose stillness was only broken by the deep, sweet chiming of the cathedral bells. But when, interested, I went into the facts of the question, I found that I had not been mistaken in my first view--i.e., that London was a smarter-looking place thirty years ago than at the present day, and this for several reasons.

To begin with, there is the trifling matter of men's dress. I do not know whether we have yet realised the fact that the frock coat is rapidly becoming "costume," verging, that is, towards the status of levee dress. Already, I believe, it is only worn on occasions of semi-state, at functions where the King is expected, at smart weddings, and so forth. Before long it will probably attain the singular twofold state of "evening dress," which is worn all day long by waiters and by what are conveniently called gentlemen after seven o'clock in the evening. So very likely the frock coat will soon be seen on the backs of the maitre d'hotel, the hotel manager, the shopwalker, the major-domo--if there be any majores-domo left--as a kind of uniform or livery, while it will also be the afternoon wear of dukes at great social functions. And so with the silk hat; it has not gone so far on the road of obsolescence as the frock coat, but, unless I mistake, it has entered on that sad way.

Here, then, is the point of contrast. Between 'eighty and 'ninety--and later still--practically every man in London went about his business and his pleasure with a high hat on his head. Every man, I say, above the rank of the mechanic; certainly all the clerkly cla.s.s; Mr. Guppy and his friends were still faithful to this headdress; which, be it remembered, was once universal all over England, so that even smock-frocked farm labourers wore it. As for the London of pleasure, the West End, it would have been quite impossible to conceive a man of the faintest social pretensions being seen abroad in anything else. And now, I go up and down Piccadilly, Bond Street, the Row at the height of the London season, and see--a few silk hats and morning coats, it is true--but the majority of well-dressed men in "lounge" suits and grey soft hats and black and grey bowlers.

Now let it be clearly understood that I have no pa.s.sion for black coats and s.h.i.+ny hats myself, nor for the dazzling white linen which has largely given way to soft, unstarched stuffs. But it is not to be denied that all those habits had a "smart" appearance, and that a pavement crowded with s.h.i.+ny black hats, s.h.i.+ny white cuffs and collars, and long black frock coats made a much more imposing show than the pavement of to-day, on which the men's dress is very much as they please. The modern men look extremely comfortable and well at their ease; but they do not scintillate in the old style. A soft grey hat does not flash back the rays of the sun.

Then, another point and a most important one: the coming of the motor. I suppose the kind of motor-impelled vehicle which one is likely to see in Hyde Park may very well have cost seven or eight or nine or ten times as much as the horse-drawn carriages which I remember going round and round so gay and so glorious. Well, I have watched the modern procession of motor-cars, and they are about as impressive as a career of light locomotive engines. It may indeed in course of time become fas.h.i.+onable to go up and down the Row in express locomotives capable of drawing their hundred coaches at a hundred miles an hour, but the effect would not be smart. Now, the old equipages were undeniably the last word of smartness; in themselves they were enough to tell the stranger that he had come to the very centre of the earth, of its riches and its splendours. There were the high-bred, high-spirited, high-stepping horses, in the first place, groomed to the last extreme of s.h.i.+ny, satiny perfection, tossing their heads proudly and champing their bits and doing the most wonderful things with their legs. The bright sunlight of those past London summers shone on their glossy coats, shone in the patent leather of the harness, shone and glittered on the plated bolts and buckles and ornaments. And the carriages were of graceful form, and the servants of those days sometimes wore gorgeous liveries; and scores of those brilliant equipages followed on one another in an unending dazzling procession. That was the old way; now there are some "Snorting Billies" that choke and snarl and splutter as they dodge furtively and meanly in and out of the Park, like mechanical rabbits bolting for their burrows.

While I contrast the London of my young days and the London of my old--or present--days, I would like it to be remembered that I am, so far, only contrasting the two cities from one point of view, the point of view of smartness. I have not been saying that 1880 London was more sensible than 1915 London; but merely that the former struck an outsider as a more brilliant place than the modern city. The fact is that I have the most cordial approval for all social pomps and splendours, so long as I am not required to take part therein. I hate wearing frock coats and silk hats and s.h.i.+ny s.h.i.+rts; but I am very well pleased to sit in the pit, as it were, and watch those exalted persons who are cast for the decorative parts going through their brilliant performances. And, after all, if a man finds that plate armour is uncomfortable, that is no reason why he should not delight in seeing other people wearing it, and wearing it with dignity. And in speaking of the Hyde Park and Rotten Row of the old days I mentioned that there were some gorgeous servants'

liveries still left in 1880. And while we are on that matter, I may say that I have never sympathised at all with those persons who have found something mean and ridiculous in a manservant in purple and gold or in blue and crimson, unless, that is, the point be taken that only a splendid duty should be dignified with a splendid vestment, and in that objection I admit there is some force. Not that I agree for one moment that there is anything contemptible in "menial" service; but I am willing to allow that it may not be altogether seemly for a faithful fellow, whose business is to hold on behind a carriage and wait at dinner, to outs.h.i.+ne a bishop in pontificals. But I suspect that the people who sneered at poor Jeames and his plush were not actuated by this reasonable motive, but rather by that vile "Liberal" objection to splendour as splendour. The man who found "Blazes" ridiculous would probably find the King in his Coronation robes equally ridiculous. And so you may go on, up the scale and down the scale; but the only logical alternative to splendour is Dr. Johnson's proposed suit of bull's hide--all beyond that is superfluity and vain show, according to the doctrine of the wretches who in times not long past sold antique civic ornaments, such as chains and maces, on the ground that the Mayor of Little Pedlington did not need such gauds to help him in his customary task of sentencing "drunks."

There is one more point in connection with the Row. Twenty-five years ago the appointed hour was five o'clock in the afternoon. Then people sat in the chairs and walked up and down and looked at the carriages, and I remember a friend observing to me this singularity, that though the place was public and open to anybody, still only those persons who were dressed in the regulation costume--frock coat and silk hat for men--ever came near the sacred ground. The people in lounge suits and bowler hats stood apart, and watched the show from some distance. Well, the hour of the Row is now in the morning; but there is a greater change. There are still "smart" people there; but there are also people who cannot by any possibility be described as smart, not even if they be judged by the very lax standards of these days.

In another matter the London of to-day is much less impressive in its outward show than the London of 1880; that is in the aspect of its princ.i.p.al streets. There are still excellent shops in Bond Street, Regent Street, and Piccadilly; but there is no longer in any of them that air of exclusiveness and expensiveness that I can remember, and this is particularly true of Regent Street. In 1880 you felt as soon as you turned up the Quadrant that anything you might buy therein would certainly be dear; the very stones and stucco exuded costliness and the essential attars of luxury. I feel convinced that the cigars of Regent Street were of a more curious aroma than cigars bought in any other street, that it was the very place wherein to purchase a great green flagon of rare scent as a present for a lady, that if you happened to want a Monte Cristo emerald this was the quarter wherein to search for it. That was my impression, but lest it should be mere fancy, a year or so ago I asked one of the older shopkeepers whether the street was quite what he and I remembered it. He said very emphatically it was not at all what it had been; and I feel sure that he was right, and that in a less degree the other princ.i.p.al shopping centres have declined from their former splendour.

And this for two reasons; first, the curious modern tendency of the best and most luxurious shops to scatter and disperse themselves abroad about the side streets of the West End, leaving gaps which are filled in most cases by dealers in cheaper wares. And secondly, the coming of the popular tea-shop has, in my opinion, done a very great deal to "unsmarten" the streets of which I am speaking. Let it not be understood for one moment that I would speak despitefully of cheap tea-shops; that would indeed be vilely thankless in one who has often made the princ.i.p.al meal of the day at an A.B.C.--large coffee, threepence; milk cake, twopence; b.u.t.ter, a penny--and has been grateful that for once in a way he has dined. But, it cannot be pretended that a milk cake is a costly or a curious dish, or that a plate of cold meat for sixpence or eightpence is an opimian banquet; and so, when I pa.s.s a popular tea-shop or eating-house, I feel that my dream of luxury and expense is broken; and that something of glitter and splendour has pa.s.sed away from the West End of London.

I spent the years from the summer of 1880 to the winter of 1886 in a singular sort of apprentices.h.i.+p to life and London and letters and to most other things. Sometimes I was in London; then for months at a time I was out of it, back again in my old haunts of Gwent. I had hot fits of desire for the town when I was forced to stay in the country; and then, settled, or apparently settled, in the heart of London, its immensities and its solitudes overwhelmed me, the faint, hot breath of its streets sickened me, so that my heart ached for the thought of the green wood by the valley of the Soar, and for the thought of friendly faces.

They say that in old j.a.pan they had a wonderful and secret art of tempering their sword blades. Now the steel was placed in the white heat of the fire, now it was withdrawn and plunged into the water of an icy torrent; and then again the trial of the furnace. So heat and cold were alternated, according to an ancient and hidden tradition, till at last the craftsman obtained an exquisite and true and perfect blade, fit for the adorned scabbard of a great lord of j.a.pan. When I think of those early years of mine I should be reminded of the process of the j.a.panese sword-craftsman--if only the heart were as tractable as steel. The Kabbalists, I believe, take the view--a gloomy one--that the innermost essence of man's spirit goes out from the world in much the same state as that in which it came into the world; and it is certainly true that some men seem incorrigible; neither fire nor ice will temper them aright.

During these early years of my London experience I lived under very varying conditions. I lived with families, and I lived alone; I lived in the suburbs and in the centre; I had enough to eat, and then narrowly escaped starvation. My first habitat was in the High Street of a southern suburb. My memory holds a picture of an ancient street of dignified red-brick houses, a Georgian church, and a stream of quite inky blackness. The old houses had old gardens behind them, green enough, but with a certain grime upon them that made them strange to eyes unused to this combination of soot and leaf.a.ge. But it was quite easy in those days to get from the suburb to the open country.

Not that I desired any such excursions, for my notion of an ideal residence was then a lodging in one of the streets or courts or pa.s.sages going down from the Strand to the Thames. This was a dream that I realised years afterwards, when many waters (not of the Thames) had pa.s.sed over my head. It was well enough, and I used to go out and get my breakfast at the "chocolate as in Spain" shop at the west end of the Strand, on the north side. It was well enough, I say, but it was not absolute paradise. And, furthermore, and in an interior parenthesis, let me say that the chocolate at the old Strand shop was not as in Spain, though very decent chocolate. The Spanish service of chocolate--I encountered it when I was in Gascony--consists in this, first that the chocolate is made extremely strong and thick, and secondly that with it comes a goblet of ice-cold well-water, to be drunk after the chocolate, on the principle, I suppose, of the Scots who drink water, not with whisky, but after it.

Well, to return to the more or less--chiefly less--direct current of my tale, after my sojourn in the southern suburb came a return to the country, where I remained eight or nine months. It was during this exodus or hegira, I think, that I was excommunicated by old Mr. James, of Lansoar, because I was loafing at home instead of living on five s.h.i.+llings a week in London. But my long sojourn in Gwent was in fact due to a very dismal discovery having been made of me by certain persons called examiners. They found me utterly incapable of the simple rules of arithmetic; and hence I was debarred from the career which I had been contemplating. And here I would say that I am almost proud of myself for my quite extraordinary arithmetical incapacity. I am not merely dull and slow, but desperate. I am so wanting in the mere faculty of counting as to be curious, like those tribes of savages that can say "One, two, three, four, five ... many." There are people who make a living by exhibiting their arithmetical skill in the music-halls; someone writes on the blackboard a multiplication sum of fifteen figures multiplied by fifteen figures, and a second or two after the last figure is drawn the arithmetical artist utters the result. Well, I am at the opposite end of the scale, and I have sometimes wondered whether "Incompetent Machen"

would not be quite a good turn. It would make anybody laugh to hear me doing a sum in simple addition. It is like "Forty-seven and nine, forty-seven and nine, forty-seven and nine." I ponder. Then a brilliant idea strikes me. I pretend the problem is "forty-seven and ten." I get the result, fifty-seven, deduct one and proceed.

Well, I came to London again in the summer of '81, thinking of another and quite a different career, which did not involve, on the face of it, that little difficulty of arithmetic. Again I was in a suburb, and again in an old one, but this time the quarter was in the far west. I stayed in Turnham Green, then a place of many amenities standing amongst fields and gardens and riparian lawns, which, long ago, have been buried beneath piles of cheap bricks and mortar, for a year and a half, and then again I altered my plans, or fate rather altered them for me. I started on a new tack and kept it for a month, and then somehow slid into a backwater, in which I was afloat and nothing more than afloat.

Summoning this period into recollection, I find my position very much like to that of certain ancient and outworn barges, gra.s.s-grown, flower-grown, that I have come upon suddenly in improbable back alleys of water, in the midst of a maze of by-streets at Brentford; but, locally and literally, I was then living in a small room, a very small room, in Clarendon Road, Notting Hill Gate.

I have already stated that when I first came up to London I had no thought of literature as a career. Indeed, I never have thought of it as a career, but only as a destiny. Still, my meaning is that it in no wise dawned upon me as I travelled up from Newport to London in the early summer of 1880 that writing of any kind or sort was to be a great part of my life's business. And yet, before I had lived a month in the old red house by the inky stream, I was trying to write, in the intervals of a very different task, in an atmosphere which was utterly remote from literature of any kind. How was this? Partly, I suppose, because of the very large proportion of Celtic blood in my veins. It is quite true that the Celt--the Welsh Celt, at all events--has directly contributed very little to great literature. This I have always maintained, and always shall maintain; and I think all impartial judges will allow that if Welsh literature were annihilated at this moment the loss to the world's grand roll of masterpieces would be insignificant. I, speaking from the point of view of my own peculiar interests, I should be very sorry to miss my copy of the "Mabinogion," and there are certain stanzas of the poem called "Y Beddau"--"Vain is it to seek for the grave of Arthur"--which have a singular and enchanting and wizard music; but in neither case is there any question of a literary masterpiece.

Yet there is in Celtdom a certain literary feeling which does not exist in Anglo-Saxondom. It is diffused, no doubt, and appreciative rather than creative, and lacking in the sterner, critical spirit which is so necessary to all creative work; still it is there, and it is delighted with the rolling sound of the n.o.ble phrase. It perceives the music of words and the relation of that music to the world. I was taking a lesson in Welsh p.r.o.nunciation some time ago, and uttered the phrase "yn oes oesodd"--from ages to ages. "That is right," said my Welsh friend, "speak it so that it makes a sound like the wind about the mountains."

And, with or without the leave of the literary rationalists, I would say that the spirit of that sentence is very near to the heart of true literature.

So far then, as a man three-parts Celt, I was by nature inclined to the work of words, and there was, moreover, a feeble literary strain in my own family. There was a second cousin, or Welsh uncle, I am not certain which, who had composed a five-act heroic blank verse drama, called "Inez de Castro," which was almost, but not quite, represented by the famous Mrs. Somebody at the Lane in the early 'fifties. And then, more potent still, was the heredity of bookishness, the growing up among books that had accrued from grandfathers and uncles and cousins, all men who had lived all their days amongst books, and had sat over country hearths on mountain sides, reading this leathern Colloquies of Erasmus, this little Horace in mellow parchment, with the Sphere of Elzevir.

And then there was the old-fas.h.i.+oned grammar school education, of which it must be said, by friends and foes, that it is an education in words.

One spent one's time, unconsciously, in weighing the values of words in English and Greek and Latin, in rendering one tongue into another, in estimating the exact sense of an English sentence before translating it into one or another of the old tongues. So that a boy who could do decent Latin prose must first have mastered the exact sense and significance of his English original, and then he must also have made himself understand to a certain extent, not only the logic but the polite habit of each language. I remember when I was a very small boy rendering "Put to the sword" literally into "Gladio positi." "Well,"

said my master, "there is no reason on earth why the Romans shouldn't have said 'gladio positi,' but as a matter of fact they _did_ say 'ferro occisi'--killed with iron." And if one thinks of it, he who has mastered that little lesson has also mastered the larger lesson that literature is above logic, that there are matters in it which transcend plain common sense. And so, the long and the short of it was, that in 1880 I began to try to write.

Now I believe that one of the most tortuous and difficult questions that engages philosophy is the theory of cause and effect. I think, though I am not quite sure, that in one of Mr. Balfour's philosophical books this matter is treated, and the familiar case of a sportsman's pulling a trigger, firing a gun, and thereby bringing down a bird, is made an instance. What is the "cause" of the bird's death? Roughly speaking, of course, the pulling of the trigger; but roughly speaking is not the same thing as philosophically speaking; and if anyone be so simple as to conclude that roughly speaking means truly speaking and that philosophy is all nonsense, let me remind him that when he enjoys his after-dinner cigar in his arm-chair he is not conscious of the fact that he is being whirled through s.p.a.ce, like a top, at the most terrific speed.

So, if I remember rightly, Mr. Balfour left the philosophical "cause" of the bird's death an open question, if not a question altogether beyond determination of human wit; and thus it is with the impulse that sends off a harmless young fellow on the career of letters. One can talk of the causes that impel a grain of corn to grow from the ground; sound seed, good soil, good farming; dry weather, wet weather, each in its season; but at the last the engendering of the green shoot remains a mystery. And so it is a mystery that near midsummer in 1880 I suddenly began to write horrible rubbish in a little ma.n.u.script book with a scarlet cover; rubbish that had rhymes to it.

But if ultimate causes lie beyond those flaming walls of the world that put bounds to all our inquisition, it is not so hard to trace those causes which are proximate. The bird dies because the shot hit it in a vital part, the corn sprouts because it is put into the ground--and I began to write because I bought a copy of Swinburne's "Songs Before Sunrise."

I forget how I heard of this name, which once loomed so fiery and strange a portent, which still, in the estimation of many excellent judges, stands for a great literary achievement. I know it was while I was down in the country, because I can remember one of our clergy, an Eton and Christchurch man, telling me gossip about the poet, who had in those early days retired from the world to Putney. It is to be supposed that I had read something concerning Swinburne in one of those wonderful London papers that came over our hills from another world, that might almost have fallen from the stars they were so wholly marvellous. But, somehow or other, I was possessed by an eager curiosity concerning this Swinburne, convinced in advance--I cannot remember how--that here I should surely find an unexpected, unsurmised treasure. And so, one hot, s.h.i.+ny afternoon, I came up from the old Georgian suburb by the black stream, crossed Hungerford Bridge, and made my way into the Strand; into that Strand which is as lost as Atlantis. And going eastward past many vanished things, past the rich odours of Messrs. Rimell's soap-boiling, I came to St. Mary-le-Strand, and the entrance of Holywell Street. At the southern corner of this street, facing the east end of the church, there stood Denny's bookshop, and, gold in my pocket, I went in with a bold appearance, and said, "Have you got Swinburne's 'Songs Before Sunrise'?" The shopman did not seem in the least astonished at my question. He said he had got the book, and produced it, and showed it me, and the very cover was such as I had never seen before, provocative, therefore, in a high degree. And so I bought the book and carried it out of Denny's into the sunlight in a great amazement.

For, be it remembered, one did not go into a provincial bookshop in that easy way and say, "Have you got this or that?" For the chances were about a thousand to one that they hadn't got it, and never would have it. It is odd, but I cannot remember exactly the nature of the stock of the average country bookseller; my impression is of Bibles, Prayer Books, Church Services, and Pitman's Shorthand Manuals. So, if you wanted a book in the county town, you did not say, "Have you got so-and-so?" but "Will you get me so-and-so?" and in four or five days you called and the book was ready. But I had a notion that in this wonderful London the bookshop would actually have the book that you wanted, there actually in presence, and waiting for you on its shelves.

I had a notion, I say, but again, it seemed almost incredible that there should be such shops in the world, and so when the bookseller under St.

Mary-le-Strand said "Yes," quite simply, and handed me the "Songs Before Sunrise" in two or three seconds, I was amazed and exultant too; the legend of London, though marvellous, was evidently a true one.

Now I have a friend who is very fond of preaching the doctrine of what he calls the cataclysm. He holds that we are all much bettered by an occasional earthquake, moral, mental or spiritual. He says that volcanoes which suddenly burst out from under our feet are the finest tonics in the world, that violent thunderstorms, cloud-bursts, and tornadoes clear our mental skies. The treatment is heroic, but my friend may be right; certainly that volume of "Songs Before Sunrise" was to me quite cataclysmic. First there was the literary manner of the book, which to me was wholly strange and new and wonderful, and then there was the tremendous boldness of it all, the denial of everything that I had been brought up to believe most sure and sacred; the book was positively strewn with the fragments of shattered altars and the torn limbs of kings and priests.

How do the lines go? I quote from memory, but they run something like this:--

Thou hast taken all, Galilaean, but these thou shalt not take; The laurel, the doves and the paean, the b.r.e.a.s.t.s of the nymph in the brake.

Clearly this was a terrible, a tremendous fellow, an earth-shaking, heaven-storming poet. And so between my endeavours to qualify for pa.s.sing the preliminary examination of the Royal College of Surgeons, I began to write; I should think the most horrible drivel that ever has been written since rhymes first jingled. I can't remember, oddly enough, whether I tried to imitate Swinburne; I know one copy of verses was "inspired" by a picture called "Harmony," which I think was hung in the Academy of 1880. It depicted a mediaeval maiden playing the organ, while a mediaeval youth watched her in a dazed and love-stricken condition.

This is positively the only one of these early horrors of mine, of which I have any recollection; my memory is purged of the rest of them, I am glad to say. I merely mention these things because they ill.u.s.trate a very singular point in literary psychology; in universal psychology, for the matter of that. For I believe it is a rule that almost every literary career, certainly every literary career which is to be concerned with the imaginative side of literature, begins with the writing of verses. Nay, people who are to live lives quite remote from literature will often try to write poetry in their youth; and on the face of it, this is a great puzzle. For poetry, be it remembered, is the most "artificial" kind of literary composition, it is immeasurably the most difficult, it is by far the most remote from that which is commonly called life. Why, then, does the inexperienced beginner, devoid of all technical ability, invariably essay this most difficult technical task on his entry into the literary career?

The problem of the boy in the back room, not far from the dark stream of the Wandle, writing verses in the red notebook, is really one of the enigmas of the universe; it is rather a Chinese-box puzzle; riddle is within riddle.

For if we start at the beginning of things, or at what seems to us to be the beginning of things, we are met by the question as to why there should be any such thing as poetry in the universe. I need not say how much wider this question is than it seems; how it must be asked about all the arts, about fugues and cathedrals and romances and dances. It is an immense question; immense when one considers that with nine people out of ten the great criterion is, "Does it pay?" That is, will it result in a larger supply of fine champagne, four ale, roast legs of pork, and mousses royales to the population? Will this scheme of things enable Sir John to keep a fifth motor-car, or will it get Bill meat three times a day? That is, at last, the test by which we judge all things. It is an old and approved British test; by it Macaulay condemned the whole of Greek philosophy, because that philosophy did not lead up to the invention of the steam engine. Now, it is quite clear that poetry, speaking generally, pays neither the producer nor the consumer of it; it does not lead to motor-cars, beefsteaks, vintage clarets, or four ale. It is not even moral; not a single man has ever been induced to drink ginger-beer instead of beer by reading Keats.

I must pause for a moment; I fear that it may be thought that I am trying to be funny or--more injurious accusation!--trying to be clever.

I am not trying to be either; I am stating the simple facts of the case.

Hardly a month pa.s.ses by without some indignant person pointing out in the Press that Engineering and Commercial Chemistry are infinitely more useful--i.e., lead to more beefsteaks--than Latin and Greek; and that when Oxford and Cambridge find out that obvious truth they may become of some service to the State. Indeed, it is only a few weeks ago since a gentleman wrote to a paper showing that military training was better for a boy--i.e., would make him the better soldier--than "silly old"

Greek plays. And let me acknowledge that these contentions are perfectly true; just as it is perfectly true that fur coats are much warmer than Alcaics. So, I say, here is the problem: the common, widely accepted test of the right to existence of everything: does it pay, does it add to the physical comforts of life, is quite clearly opposed to the existence of poetry, and yet poetry exists. Therefore, either the poets and the lovers of poetry are mad, or else the common judgment is ... let us say, mistaken. I need scarcely say that I incline to the latter solution of the problem, and so qua human being, I am not ashamed of trying to write poetry by the Wandle, though I recognise, qua Arthur Machen, that I was, very decidedly, not born a poet.

For I firmly hold the doctrine that the natural, the arch-natural expression of man, so far as he is to be distinguished from pigs and dogs and goats, is in the arts, and through the arts and by the arts. It is not by reason, as reason is commonly understood, that man is distinguished from the other animals; but by art. I can quite well conceive the Black Ants sending the message "Hill 27 fell before the Red Ant attack early this afternoon," but I cannot conceive either Red or Black Ants writing odes or building miniature cathedrals. The arts, then, are man's difference, that which makes him to be what he is; and when he speaks through them he is using the utterance which is proper to him, as man. For, if we once set aside the "does it pay" nonsense, which is evidently nonsense and pestilent nonsense at that, we come clearly and freely to the truth that man is concerned with beauty, and with the ecstasy or rapture that proceeds from the creation of beauty and from the contemplation of it. And youth, as I think I have pointed out before, is the time of revelation. It is children who possess the "kingdom of heaven," to them are vouchsafed glimpses of that paradise which is the true home of man, and so it is that the boy with literature in his blood naturally makes his first efforts in the region of poetry, which is the heart and core of all literature.

The heart and core; for, as in the individual man, so in the whole history of men literature begins always with poetry, just as speech began with song. First, the magic incantation, sung about strange secret fires in hidden places by wild men, then the ballad or lyric, then Homer, then Herodotus, with the odours of the sanctuary of poetry still about him, though he has come down into the market-place of prose. And it is not necessary to go farther in time or s.p.a.ce than the Northumberland of a few years ago to hear phrases common enough, things of everyday, set to enchanting melodies. I shall never forget how once in the years of my wandering I came one wet autumn afternoon to a little town called Morpeth. It struck me as a dingy place enough, "un pet.i.t trou de province, sale, noir, boueux," and my lodging was dingy, and musty too, in a house kept by an old invalid woman who moved about in a wheel chair and grumbled if a window were opened. But when it came to the question of the stroller's tea, the servant-maid, who came, I think, from the wild places of that land, said consolingly: "You need not trouble yourselves; you shall have your tea in half an hour." No doubt the girl was mortal, but she spoke the tongue of the immortals; her phrase about our tea was chanted to an exquisite melody that might have come from the Gradual--or from fairyland.