Yet Again Part 7

Yes, I am fascinated by them now. Terror has been toned to wonder. I am filled with a kind of wondering pity. My academic theory about wax-works has broken down utterly. These figures--kings, princes, d.u.c.h.esses, queens--all are real to me now, and all are infinitely pathetic, in the dignity of their fallen and forgotten greatness. With what inalienable majesty they wear their rusty velvets and faded silks, flaunting sere ruffles of point-lace, which at a touch now would be s.h.i.+vered like cobwebs! My heart goes out to them through the gla.s.s that divides us. I wish I could stay with them, bear them company, always. I think they like me. I am afraid they will miss me. Perhaps it would be better for us never to have met. Even Queen Elizabeth, beholding whom, as she stands here, gaunt and imperious and appalling, I echo the words spoken by Philip's envoy, 'This woman is possessed of a hundred thousand devils'--even she herself, though she gazes askance into the air, seems to be conscious of my presence, and to be willing me to stay. It is a relief to meet the friendly bourgeois eye of good Queen Anne. It has restored my common sense. 'These figures really are most curious, most interesting...' and anon I am asking intelligent questions about the contents of a big press, which, by special favour, has been unlocked for me.

Perhaps the most romantic thing in the Islip Chapel is this press.

Herein, huddled one against another in dark recesses, lie the battered and disjected remains of the earlier effigies--the primitive wooden ones. Edward I. and Eleanor are known to be among them; and Henry VII.

and Elizabeth of York; and others not less ill.u.s.trious. Which is which?

By size and shape you can distinguish the men from the women; but beyond that is mere guesswork, be you never so expert. Time has broken and shuffled these erst so significant effigies till they have become as unmeaning for us as the bones in one of the old plague-pits. I feel that I ought to be more deeply moved than I am by this sad state of things. But I seem to have exhausted my capacity for sentiment; and I cannot rise to the level of my opportunity. Would that I were Thackeray! Dear gentleman, how promptly and copiously he would have wept and moralised here, in his grandest manner, with that perfect technical mastery which makes even now his tritest and shallowest sermons sound remarkable, his hollowest sentiment ring true! What a pity he never came to beat the m.u.f.fled drum, on which he was so supreme a performer, around the Islip Chapel! As I make my way down the stairs, I am trying to imagine what would have been the cadence of the final sentence in this essay by Thackeray. And, as I pa.s.s along the North Ambulatory, lo! there is the same verger with a new party; and I catch the words 'was interred with great pomp on St. Simon's and St. Jude's Day October 28 1307 in 1774 the tomb was opened when--

THE HUMOUR OF THE PUBLIC

They often tell me that So-and-so has no sense of humour. Lack of this sense is everywhere held to be a horrid disgrace, nullifying any number of delightful qualities. Perhaps the most effective means of disparaging an enemy is to lay stress on his integrity, his erudition, his amiability, his courage, the fineness of his head, the grace of his figure, his strength of purpose, which has overleaped all obstacles, his goodness to his parents, the kind word that he has for every one, his musical voice, his freedom from aught that in human nature is base; and then to say what a pity it is that he has no sense of humour. The more highly you extol any one, the more eagerly will your audience accept anything you may have to say against him. Perfection is unloved in this imperfect world, but for imperfection comes instant sympathy.

Any excuse is good enough for exalting the bad or stupid brother of us, but any stick is a valued weapon against him who has the effrontery to have been by Heaven better graced than we. And what could match for deadliness the imputation of being without sense of humour? To convict a man of that lack is to strike him with one blow to a level with the beasts of the field--to kick him, once and for all, outside the human pale. What is it that mainly distinguishes us from the brute creation?

That we walk erect? Some brutes are bipeds. That we do not slay one another? We do. That we build houses? So do they. That we remember and reason? So, again, do they. That we converse? They are chatterboxes, whose lingo we are not sharp enough to master. On no possible point of superiority can we preen ourselves save this: that we can laugh, and that they, with one notable exception, cannot. They (so, at least, we a.s.sert) have no sense of humour. We have. Away with any one of us who hasn't!

Belief in the general humorousness of the human race is the more deep-rooted for that every man is certain that he himself is not without sense of humour. A man will admit cheerfully that he does not know one tune from another, or that he cannot discriminate the vintages of wines. The blind beggar does not seek to benumb sympathy by telling his patrons how well they are looking. The deaf and dumb do not scruple to converse in signals. 'Have you no sense of beauty?' I said to a friend who in the Accademia of Florence suggested that we had stood long enough in front of the 'Primavera.' 'No!' was his simple, straightforward, quite unanswerable answer. But I have never heard a man a.s.sert that he had no sense of humour. And I take it that no such a.s.sertion ever was made. Moreover, were it made, it would be a lie.

Every man laughs. Frequently or infrequently, the corners of his mouth are drawn up into his cheeks, and through his parted lips comes his own particular variety, soft or loud, of that noise which is called laughter. Frequently or infrequently, every man is amused by something.

Every man has a sense of humour, but not every man the same sense. A may be incapable of smiling at what has convulsed B, and B may stare blankly when he hears what has rolled A off his chair. Jokes are so diverse that no one man can see them all. The very fact that he can see one kind is proof positive that certain other kinds will be invisible to him. And so egoistic in his judgment is the average man that he is apt to suspect of being humourless any one whose sense of humour squares not with his own. But the suspicion is always false, incomparably useful though it is in the form of an accusation.

Having no love for the public, I have often accused that body of having no sense of humour. Conscience p.r.i.c.ks me to atonement. Let me withdraw my oft-made imputation, and show its hollowness by examining with you, reader (who are, of course, no more a member of the public than I am), what are the main features of that sense of humour which the public does undoubtedly possess.

The word 'public' must, like all collective words, be used with caution. When we speak of our hair, we should remember not only that the hairs on our heads are all numbered, but also that there is a catalogue raisonne' in which every one of those hairs is shown to be in some respect unique. Similarly, let us not forget that 'public' denotes a collection not of identical units, but of units separable and (under close scrutiny) distinguishable one from another. I have said that not every man has the same sense of humour. I might have said truly that no two men have the same sense of humour, for that no two men have the same brain and heart and experience, by which things the sense of humour is formed and directed. One joke may go round the world, tickling myriads, but not two persons will be tickled in precisely the same way, to precisely the same degree. If the vibrations of inward or outward laughter could be (as some day, perhaps, they will be) scientifically registered, differences between them all would be made apparent to us. 'Oh,' is your cry, whenever you hear something that especially amuses you, 'I must tell that to' whomever you credit with a sense of humour most akin to your own. And the chances are that you will be disappointed by his reception of the joke. Either he will laugh less loudly than you hoped, or he will say something which reveals to you that it amuses him and you not in quite the same way. Or perhaps he will laugh so long and loudly that you are irritated by the suspicion that you have not yourself gauged the full beauty of it. In one of his books (I do not remember which, though they, too, I suppose, are all numbered) Mr. Andrew Lang tells a story that has always delighted and always will delight me. He was in a railway-carriage, and his travelling-companions were two strangers, two silent ladies, middle-aged. The train stopped at Nuneaton. The two ladies exchanged a glance. One of them sighed, and said, 'Poor Eliza! She had reason to remember Nuneaton!'... That is all. But how much! how deliciously and memorably much! How infinite a span of conjecture is in those dots which I have just made! And yet, would you believe me? some of my most intimate friends, the people most like to myself, see little or nothing of the loveliness of that pearl of price. Perhaps you would believe me.

That is the worst of it: one never knows. The most sensitive intelligence cannot predict how will be appraised its any treasure by its how near soever kin.

This sentence, which I admit to be somewhat mannered, has the merit of bringing me straight to the point at which I have been aiming; that, though the public is composed of distinct units, it may roughly be regarded as a single ent.i.ty. Precisely because you and I have sensitive intelligences, we cannot postulate certainly anything about each other.

The higher an animal be in grade, the more numerous and recondite are the points in which its organism differs from that of its peers. The lower the grade, the more numerous and obvious the points of likeness.

By 'the public' I mean that vast number of human animals who are in the lowest grade of intelligence. (Of course, this cla.s.sification is made without reference to social 'cla.s.ses.' The public is recruited from the upper, the middle, and the lower cla.s.s. That the recruits come mostly from the lower cla.s.s is because the lower cla.s.s is still the least well-educated. That they come in as high proportion from the middle cla.s.s as from the less well-educated upper cla.s.s, is because the 'young Barbarians,' reared in a more gracious environment, often acquire a grace of mind which serves them as well as would mental keenness.) Whereas in the highest grade, to which you and I belong, the fact that a thing affects you in one way is no guarantee that it will not affect me in another, a thing which affects one man of the lowest grade in a particular way is likely to affect all the rest very similarly. The public's sense of humour may be regarded roughly as one collective sense.

It would be impossible for any one of us to define what are the things that amuse him. For him the wind of humour bloweth where it listeth. He finds his jokes in the unlikeliest places. Indeed, it is only there that he finds them at all. A thing that is labelled 'comic' chills his sense of humour instantly--perceptibly lengthens his face. A joke that has not a serious background, or some serious connexion, means nothing to him. Nothing to him, the crude j.a.pe of the professional jester.

Nothing to him, the jangle of the bells in the wagged cap, the thud of the swung bladder. Nothing, the joke that hits him violently in the eye, or p.r.i.c.ks him with a sharp point. The jokes that he loves are those quiet jokes which have no apparent point--the jokes which never can surrender their secret, and so can never pall. His humour is an indistinguishable part of his soul, and the things that stir it are indistinguishable from the world around him. But to the primitive and untutored public, humour is a harshly definite affair. The public can achieve no delicate process of discernment in humour. Unless a joke hits in the eye, drawing forth a shower of illuminative sparks, all is darkness. Unless a joke be labelled 'Comic. Come! why don't you laugh?'

the public is quite silent. Violence and obviousness are thus the essential factors. The surest way of making a thing obvious is to provide it in some special place, at some special time. It is thus that humour is provided for the public, and thus that it is easy for the student to lay his hand on materials for an a.n.a.lysis of the public's sense of humour. The obviously right plan for the student is to visit the music-halls from time to time, and to buy the comic papers. Neither these halls nor these papers will amuse him directly through their art, but he will instruct himself quicklier and soundlier from them than from any other source, for they are the authentic sources of the public's laughter. Let him hasten to patronise them.

He will find that I have been there before him. The music-halls I have known for many years. I mean, of course, the real old-fas.h.i.+oned music-halls, not those depressing palaces where you see by grace of a biograph things that you have seen much better, and without a headache, in the street, and pitiable animals being forced to do things which Nature has forbidden them to do--things which we can do so very much better than they, without any trouble. Heaven defend me from those meaningless palaces! But the little old music-halls have always attracted me by their unpretentious raciness, their quaint monotony, the reality of the enjoyment on all those stolidly rapt faces in the audience. Without that monotony there would not be the same air of general enjoyment, the same constant guffaws. That monotony is the secret of the success of music-halls. It is not enough for the public to know that everything is meant to be funny, that laughter is craved for every point in every 'turn.' A new kind of humour, however obvious and violent, might take the public unawares, and be received in silence. The public prefers always that the old well-tested and well-seasoned jokes be cracked for it. Or rather, not the same old jokes, but jokes on the same old subjects. The quality of the joke is of slight import in comparison with its subject. It is the matter, rather than the treatment, that counts, in the art of the music-hall.

Some subjects have come to be recognised as funny. Two or three of them crop up in every song, and before the close of the evening all of them will have cropped up many times. I speak with authority, as an earnest student of the music-halls. Of comic papers I know less. They have never allured me. They are not set to music--an art for whose cheaper and more primitive forms I have a very real sensibility; and I am not, as I peruse one of them, privy to the public's delight: my copy cannot be shared with me by hundreds of people whose mirth is wonderful to see and hear. And the bare contents are not such as to enchant me. However, for the purpose of this essay, I did go to a bookstall and buy as many of these papers as I could see--a terrific number, a terrific burden to stagger away with.

I have gone steadily through them, one by one. My main impression is of wonder and horror at the amount of hebdomadal labour implicit in them.

Who writes for them? Who does the drawings for them--those thousands of little drawings, week by week, so neatly executed? To think that daily and nightly, in so many an English home, in a room sacred to the artist, sits a young man inventing and executing designs for Chippy Snips! To think how many a proud mother must be boasting to her friends: 'Yes, Edward is doing wonderfully well--more than fulfilling the hopes we always had of him. Did I tell you that the editor of Natty Tips has written asking him to contribute to his paper? I believe I have the letter on me. Yes, here it is,' etc., etc.! The awful thing is that many of the drawings in these comic papers are done with very real skill. Nothing is sadder than to see the hand of an artist wasted by alliance to a vacant mind, a common spirit. I look through these drawings, conceived all so tritely and stupidly, so hopelessly and helplessly, yet executed--many of them--so very well indeed, and I sigh over the haphazard way in which mankind is made. However, my concern is not with the tragedy of these draughtsmen, but with the specific forms taken by their humour. Some of them deal in a broad spirit with the world-comedy, limiting themselves to no set of funny subjects, finding inspiration in the habits and manners of men and women at large. 'HE WON HER' is the t.i.tle appended to a picture of a young lady and gentleman seated in a drawing-room, and the libretto runs thus: 'Mabel: Last night I dreamt of a most beautiful woman. Harold: Rather a coincidence. I dreamt of you, too, last night.' I have selected this as a typical example of the larger style. This style, however, occupies but a small s.p.a.ce in the bulk of the papers that lie before me. As in the music-halls, so in these papers, the entertainment consists almost entirely of variations on certain ever-recurring themes. I have been at pains to draw up a list of these themes. I think it is exhaustive. If any fellow-student detect an omission, let him communicate with me.

Meanwhile, here is my list:--

Mothers-in-law Hen-pecked husbands Twins Old maids Jews Frenchmen, Germans, Italians, n.i.g.g.e.rs (not Russians, or other foreigners of any denomination) Fatness Thinness Long hair (worn by a man) Baldness Sea-sickness Stuttering Bad cheese 'Shooting the moon' (slang expression for leaving a lodging-house without paying the bill).

You might argue that one week's budget of comic papers is no real criterion--that the recurrence of these themes may be fortuitous. My answer to that objection is that this list coincides exactly with a list which (before studying these papers) I had made of the themes commonest, during the past few years, in the music-halls. This twin list, which results from separate study of the two chief forms of public entertainment, may be taken as a sure guide to the goal of our inquiry.

Let us try to find some unifying principle, or principles, among the variegated items. Take the first item--Mothers-in-law. Why should the public roar, as roar it does, at the mere mention of that relations.h.i.+p?

There is nothing intrinsically absurd in the notion of a woman with a married daughter. It is probable that she will sympathise with her daughter in any quarrel that may arise between husband and wife. It is probable, also, that she will, as a mother, demand for her daughter more unselfish devotion than the daughter herself expects. But this does not make her ridiculous. The public laughs not at her, surely. It always respects a tyrant. It laughs at the implied concept of the oppressed son-in-law, who has to wage unequal warfare against two women. It is amused by the notion of his embarra.s.sment. It is amused by suffering. This explanation covers, of course, the second item on my list--Hen-pecked husbands. It covers, also, the third and fourth items.

The public is amused by the notion of a needy man put to double expense, and of a woman who has had no chance of fulfilling her destiny. The laughter at Jews, too, may be a survival of the old Jew-baiting spirit (though one would have thought that even the British public must have begun to realise, and to reflect gloomily, that the whirligig of time has so far revolved as to enable the Jews to bait the Gentiles). Or this laughter may be explained by the fact which alone can explain why the public laughs at Frenchmen, Germans, Italians, n.i.g.g.e.rs. Jews, after all, are foreigners, strangers. The British public has never got used to them, to their faces and tricks of speech. The only apparent reason why it laughs at the notion of Frenchmen, etc., is that they are unlike itself. (At the mention of Russians and other foreigners it does not laugh, because it has no idea what they are like: it has seen too few samples of them.)

So far, then, we have found two elements in the public's humour: delight in suffering, contempt for the unfamiliar. The former motive is the more potent. It accounts for the popularity of all these other items: extreme fatness, extreme thinness, baldness, sea-sickness, stuttering, and (as entailing distress for the landlady) 'shooting the moon.' The motive of contempt for the unfamiliar accounts for long hair (worn by a man). Remains one item unexplained. How can mirth possibly be evoked by the notion of bad cheese? Having racked my brains for the solution, I can but conjecture that it must be the mere ugliness of the thing. Why any one should be amused by mere ugliness I cannot conceive.

Delight in cruelty, contempt for the unfamiliar, I can understand, though I cannot admire them. They are invariable elements in children's sense of humour, and it is natural that the public, as being unsophisticated, should laugh as children laugh. But any nurse will tell you that children are frightened by ugliness. Why, then, is the public amused by it? I know not. The laughter at bad cheese I abandon as a mystery. I pitch it among such other insoluble problems, as Why does the public laugh when an actor and actress in a quite serious play kiss each other? Why does it laugh when a meal is eaten on the stage?

Why does it laugh when any actor has to say 'd.a.m.n'?

If they cannot be solved soon, such problems never will be solved. For Mr. Forster's Act will soon have had time to make apparent its effects; and the public will proudly display a sense of humour as sophisticated as our own.

DULCEDO JUDICIORUM

When a 'sensational' case is being tried, the court is well filled by lay persons in need of a thrill. Their presence seems to be rather resented as a note of frivolity, a discord in the solemnity of the function, even a possible distraction for the judge and jury. I am not a lawyer, nor a professionally solemn person, and I cannot work myself up into a state of indignation against the interlopers. I am, indeed, one of them myself. And I am worse than one of them. I do not merely go to this or that court on this or that special occasion. I frequent the courts whenever I have nothing better to do. And it is rarely that, as one who cares to study his fellow-creatures, I have anything better to do. I greatly wonder that the courts are frequented by so few other people who have no special business there.

I can understand the glamour of the theatre. You find yourself in a queerly-shaped place, cut off from the world, with plenty of gilding and red velvet or blue satin. An orchestra plays tunes calculated to promote suppressed excitement. Presently up goes a curtain, revealing to you a mimic world, with ladies and gentlemen painted and padded to appear different from what they are. It is precisely the people most susceptible to the glamour of the theatre who are the greatest hindrances to serious dramatic art. They will stand anything, no matter how silly, in a theatre. Fortunately, there seems to be a decline in the number of people who are acutely susceptible to the theatre's glamour. I rather think the reason for this is that the theatre has been over-exploited by the press. Quite old people will describe to you their early playgoings with a sense of wonder, an enthusiasm, which--leaving a wide margin for the charm that past things must always have--will not be possible to us when we babble to our grandchildren.

Quite young people, people ranging between the ages of four and five, who have seen but one or two pantomimes, still seem to have the glamour of the theatre full on them. But adolescents, and people in the prime of life, do merely, for the most part, grumble about the quality of the plays. Yet the plays of our time are somewhat better than the plays that were written for our elders. Certainly the glamour of the theatre has waned. And so much the better for the drama's future.

It is a matter of concern, that future, to me who have for so long a time been a dramatic critic. A man soon comes to care, quite unselfishly, about the welfare of the thing in which he has specialised. Of course, I care selfishly too. For, though it is just as easy for a critic to write interestingly about bad things as about good things, he would rather, for choice, be in contact with good things. It is always nice to combine business and pleasure. But one regrets, even then, the business. If I were a forensic critic, my delight in attending the courts would still be great; but less than it is in my irresponsibility. In the courts I find satisfied in me just those senses which in the theatre, nearly always, are starved. Nay, I find them satisfied more fully than they ever could be, at best, in any theatre. I do not merely fall back on the courts, in disgust of the theatre as it is. I love the courts better than the theatre as it ideally might be. And, I say again, I marvel that you leave me so much elbow-room there.

No artificial light is needed, no sc.r.a.ping of fiddles, to excite or charm me as I pa.s.s from the echoing corridor, through the swing-doors, into the well of this or that court. It matters not much to me what case I shall hear, so it be of the human kind, with a jury and with witnesses. I care little for Chancery cases. There is a certain intellectual pleasure in hearing a ma.s.s of facts subtly wrangled over.

The mind derives therefrom something of the satisfaction that the eye has in watching acrobats in a music-hall. One wonders at the ingenuity, the agility, the perfect training. Like acrobats, these Chancery lawyers are a relief from the average troupe of actors and actresses, by reason of their exquisite alertness, their thorough mastery (seemingly exquisite and thorough, at any rate, to the dazzled layman).

And they have a further advantage in their material. The facts they deal with are usually dull, but seldom so dull as facts become through the fancies of the average playwright. It is seldom that an evening in a theatre can be so pleasantly and profitably spent as a day in a Chancery court. But it is ever into one or another of the courts of King's Bench that I betake myself, for choice. Criminal trials, of which I have seen a few, I now eschew absolutely. I cannot stomach them. I know that it is necessary for the good of the community that such persons as infringe that community's laws should be punished. But, even were the mode of punishment less barbarous than it is, I should still prefer not to be brought in sight of a prisoner in the dock.

Perhaps because I have not a strongly developed imagination, I have little or no public spirit. I cannot see the commonweal. On the other hand, I have plenty of personal feeling. And I have enough knowledge of men and women to know that very often the best people are guilty of the worst things. Is the prisoner in the dock guilty or not guilty of the offence with which he is charged? That is the question in the mind of the court. What sort of man is he? That is the question in my own mind.

And the answer to the other question has no bearing whatsoever on the answer to this one. The English law a.s.sumes the prisoner innocent until he shall have been proved guilty. And, seeing him there a prisoner, a man who happens to have been caught, while others (myself included) are pleasantly at large after doing, unbeknown, innumerable deeds worse in the eyes of heaven than the deed with which this man is charged--deeds that do not prevent us from regarding our characters as quite fine really--I cannot but follow in my heart the example of the English law and a.s.sume (pending proof, which cannot be forthcoming) that the prisoner in the dock has a character at any rate as fine as my own. The war that this a.s.sumption wages in my breast against the fact that the man will perhaps be sentenced is too violent a war not to discommode me. Let justice be done. Or rather, let our rough-and-ready, well-meant endeavours towards justice go on being made. But I won't be there to see, thank you very much.

It is the natural wish of every writer to be liked by his readers. But how exasperating, how detestable, the writer who obviously touts for our affection, arranging himself for us in a mellow light, and inviting us, with gentle persistence, to note how lovable he is! Many essayists have made themselves quite impossible through their determination to remind us of Charles Lamb--'St. Charles,' as they invariably call him.

And the foregoing paragraph, though not at all would-be-Lamb-like in expression, looks to me horribly like a blatant bid for your love. I hasten to add, therefore, that no absolutely kind-hearted person could bear, as I rejoice, to go and hear cases even in the civil courts. If it be true that the instinct of cruelty is at the root of our pleasure in theatrical drama, how much more is there of savagery in our going to look on at the throes of actual litigation--real men and women struggling not in make-believe, but in dreadful earnest! I mention this aspect merely as a corrective to what I had written. I do not pretend that I am ever conscious, as I enter a court, that I am come to gratify an evil instinct. I am but conscious of being glad to be there, on tiptoe of antic.i.p.ation, whether it be to hear tried some particular case of whose matter I know already something, or to hear at hazard whatever case happen to be down for hearing. I never tire of the aspect of a court, the ways of a court. Familiarity does but spice them. I love the cold comfort of the pale oak panelling, the scurrying-in-and-out of lawyers' clerks, the eagerness and ominousness of it all, the rustle of silk as a K.C. edges his way to his seat and twists his head round for a quick whispered parley with his junior, while his client, at the solicitors' table, twists his head round to watch feverishly the quick mechanical nods of the great man's wig--the wig that covers the skull that contains the brain that so awfully much depends on. I love the mystery of those dark-green curtains behind the exalted Bench. One of them will anon be plucked aside, with a stentorian 'Silence!' Thereat up we jump, all of us as though worked by one spring; and in shuffles swiftly My Lord, in a robe well-fas.h.i.+oned for sitting in, but not for walking in anywhere except to a bath-room.

He bows, and we bow; subsides, and we subside; and up jumps some grizzled junior--'My Lord, may I mention to your Lords.h.i.+p the case of "Brown v. Robinson and Another"?' It is music to me ever, the cadence of that formula. I watch the judge as he listens to the application, peering over his gla.s.ses with the lack-l.u.s.tre eyes that judges have, eyes that stare dimly out through the mask of wax or parchment that judges wear. My Lord might be the mummy of some high tyrant revitalised after centuries of death and resuming now his sway over men. Impa.s.sive he sits, aloof and aloft, ramparted by his desk, ensconced between curtains to keep out the draught--for might not a puff of wind scatter the animated dust that he consists of? No creature of flesh and blood could impress us quite as he does, with a sense of puissance quite so dispa.s.sionate, so supernal. He crouches over us in such manner that we are all of us levelled one with another, shorn of aught that elsewhere differentiates us. The silk-gownsmen, as soon as he appears, fade to the semblance of juniors, of lawyers' clerks, of jurymen, of oneself.

Always, indeed, in any public place devoted to some special purpose, one finds it hard to differentiate the visitors, hard to credit them with any private existence. Cast your eye around the tables of a cafe': how subtly similar all the people seem! How like a swarm of gregarious insects, in their unity of purpose and of aspect! Above all, how homeless! Cast your eye around the tables of a casino's gambling-room.

What an uniform and abject herd, huddled together with one despondent impulse! Here and there, maybe, a person whom we know to be vastly rich; yet we cannot conceive his calm as not the calm of inward desperation; cannot conceive that he has anything to bless himself with except the roll of bank-notes that he has just produced from his breast-pocket. One and all, the players are levelled by the invisible presence of the G.o.ddess they are courting. Well, the visible presence of the judge in a court of law oppresses us with a yet keener sense of lowliness and obliteration. He crouches over us, visible symbol of the majesty of the law, and we wilt to nothingness beneath him. And when I say 'him' I include the whole judicial bench. Judges vary, no doubt.

Some are young, others old, by the calendar. But the old ones have an air of physical incorruptibility--are 'well-preserved,' as by swathes and spices; and the young ones are just as mummified as they. Some of them are pleased to crack jokes; jokes of the sarcophagus, that twist our lips to obsequious laughter, but send a chill through our souls.

There are 'strong' judges and weak ones (so barristers will tell you).

Perhaps--who knows?--Minos was a strong judge, and Aeacus and Rhadamanthus were weak ones. But all three seem equally terrible to us.

And so seem, in virtue of their position, and of the manner and aspect it invests them with, all the judges of our own high courts.

I hearken in awe to the toneless murmur in which My Lord comments on the application in the case of 'Brown v. Robinson and Another.' He says something about the Court of Crown Cases Reserved... Ah, what place on this earth bears a name so mystically majestic? Even in the commonest forensic phrases there is often this solemnity of cadence, always a quaintness, that stirs the imagination... The grizzled junior dares interject something 'with submission,' and is finally advised to see 'my learned brother in chambers.' 'As your Lords.h.i.+p pleases.'... We pa.s.s to the business of the day. I settle myself to enjoy the keenest form of aesthetic pleasure that is known to me.

Aesthetic, yes. In the law-courts one finds an art-form, as surely as in the theatre. What is drama? Its theme is the actions of certain opposed persons, historical or imagined, within a certain period of time; and these actions, these characters, must be shown to us in a succinct manner, must be so arranged that we know just what in them is essential to our understanding of them. Very similar is the art-form practised in the law-courts. The theme of a law-suit is the actions of certain actual opposed persons within a certain period of time; and these actions, these characters, must be set forth succinctly, in such-wise that we shall know just as much as is essential to our understanding of them. In drama, the presentment is, in a sense, more vivid. It is not--not usually, at least--retrospective. We see the actions being committed, hear the words as they are uttered. But how often do we have an illusion of their reality? Seldom. It is seldom that a masterpiece in drama is performed perfectly by an ideal cast. In a law-court, on the other hand, it is always in perfect form that the matter is presented to us. First the outline of the story, in the speech for the plaintiff; then this outline filled in by the examination of the plaintiff himself; then the other side of the story adumbrated by his cross-examination. Think of the various further stages of a law-suit, culminating in the judge's summing up; and you will agree with me that the whole thing is a perfect art-form. Drama, at its best, is clumsy, arbitrary, unsatisfying, by comparison. But what makes a law-suit the most fascinating, to me, of all art-forms, is that not merely its material, but the chief means of its expression, is life itself. Here, cited before us, are the actual figures in the actual story that has been told to us. Here they are, not as images to be evoked through the medium of printed page, or of painted canvas, or of disinterested ladies and gentlemen behind footlights. Actual, authentic, they stand before us, one by one, in the harsh light of day, to be made to reveal all that we need to know of them.

The most interesting witnesses, I admit, are they who are determined not to accommodate us--not to reveal themselves as they are, but to make us suppose them something quite different. All witnesses are more or less interesting. As I have suggested, there is no such thing as a dull law-suit. Nothing that has happened is negligible. And, even so, every human being repays attention--especially so when he stands forth on his oath. The strangeness of his position, and his consciousness of it, suffice in themselves to make him interesting. But it is disingenuousness that makes him delightful. And the greatest of all delights that a law-court can give us is a disingenuous witness who is quick-minded, resourceful, thoroughly master of himself and his story, pitted against a counsel as well endowed as himself. The most vivid and precious of my memories is of a case in which a gentleman, now dead, was sued for breach of promise, and was cross-examined throughout a whole hot day in midsummer by the late Mr. Candy. The lady had averred that she had known him for many years. She called various witnesses, who testified to having seen him repeatedly in her company. She produced stacks of letters in a handwriting which no expert could distinguish from his. The defence was that these letters were written by the defendant's secretary, a man who was able to imitate exactly his employer's handwriting, and who was, moreover, physically a replica of his employer. He was dead now; and the defendant, though he was a very well-known man, with many friends, was unable to adduce any one who had seen that secretary dead or alive. Not a soul in court believed the story. As it was a complicated story, extending over many years, to demolish it seemed child's play. Mr. Candy was no child. His performance was masterly. But it was not so masterly as the defendant's; and the suit was dismissed. In the light of common sense, the defendant hadn't a leg to stand on. Technically, his case was proved. I doubt whether I shall ever have a day of such acute mental enjoyment as was the day of that cross-examination.

I suppose that the most famous cross-examination in our day was Sir Charles Russell's of Pigott. It outstands by reason of the magnitude of the issue, and the flight and suicide of the witness. Had Pigott been of the stuff to stand up to Russell, and make a fight of it, I should regret far more keenly than I do that I was not in court. As it is, my regret is keen enough. I was reading again, only the other day, the verbatim report of Pigott's evidence, in one of the series of little paper volumes published by The Times; and I was revelling again in the large perfection with which Russell accomplished his too easy task.

Especially was I amazed to find how vividly Russell, as I remember him, lived again, and could be seen and heard, through the medium of that little paper volume. It was not merely as though I had been in court, and were now recalling the inflections of that deep, intimidating voice, the steadfast gaze of those dark, intimidating eyes, and were remembering just at what points the snuff-box was produced, and just how long the pause was before the pinch was taken and the bandana came into play. It was almost as though these effects were proceeding before my very eyes--these sublime effects of the finest actor I have ever seen. Expressed through a perfect technique, his personality was overwhelming. 'Come, Mr. Pigott,' he is reported as saying, at a crucial moment, 'try to do yourself justice. Remember! you are face to face with My Lords.' How well do I hear, in that awful hortation, Russell's pause after the word 'remember,' and the lowered voice in which the subsequent words were uttered slowly, and the richness of solemnity that was given to the last word of all, ere the thin lips snapped together--those lips that were so small, yet so significant, a feature of that large, white, luminous and inauspicious face. It is an hortation which, by whomsoever delivered, would tend to dispirit the bravest and most honest of witnesses. The presence of a judge is always, as I have said, oppressive. The presence of three is trebly so.

Yet not a score of them serried along the bench could have outdone in oppressiveness Sir Charles Russell. He alone, among the counsel I have seen, was an exception to the rule that by a judge every one in court is levelled. On the bench, in his last years, he was not notably more predominant than he ever had been. And the reason of his predominance at the Bar was not so much in the fact that he had no rival in swiftness, in subtlety, in grasp, as in the pa.s.sionate strength of his nature, the intensity that in him was at the root of the grand manner.

In the courts, as in parliament and in the theatre, the grand manner is a thing of the past. Mr. Lloyd-George is not, in style and method, more remote from Gladstone, nor Mr. George Alexander from Macready, than is Mr. Rufus Isaacs, the type of modern advocate, from Russell. Strength, pa.s.sion, sonorousness, magnificence of phrasing, are things which the present generation vaguely approves in retrospect; but it would t.i.tter at a contemporary demonstration of them. While I was reading Pigott's cross-examination, an idea struck me; why do not the managers of our theatres, always querulous about the dearth of plays, fall back on scenes from famous trials? A trial-scene in a play, though usually absurd, is almost always popular. Why not give us actual trial-scenes?

They could not, of course, be nearly so exciting as the originals, for the simple reason that they would not be real; but they would certainly be more exciting than the average play. Thus I mused, hopefully. But I was brought up sharp by the reflection that it were hopeless to look for an actor who could impersonate Russell--could fit his manner to Russell's words, or indeed to the words of any of those orotund advocates. To reproduce recent trials would be a hardly warrantable thing. The actual partic.i.p.ators in them would have a right to object (delighted though many of them would be). Vain, then, is my dream of theatres invigorated by the leavings of the law-courts. On the other hand, for the profit of the law-courts, I have a quite practicable notion. They provide the finest amus.e.m.e.nt in London, for nothing. Why for nothing? Let some scale of prices for admission be drawn up--half-a-guinea, say, for a seat in the well of the court, a s.h.i.+lling for a seat in the gallery, five pounds for a seat on the bench. Then, I dare swear, people would begin to realise how fine the amus.e.m.e.nt is.

WORDS FOR PICTURES

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