The Children Part 1

The Children.

by Alice Meynell.

FELLOW TRAVELLERS WITH A BIRD, I.

To attend to a living child is to be baffled in your humour, disappointed of your pathos, and set freshly free from all the pre-occupations. You cannot antic.i.p.ate him. Blackbirds, overheard year by year, do not compose the same phrases; never two leitmotifs alike. Not the tone, but the note alters. So with the uncovenated ways of a child you keep no tryst. They meet you at another place, after failing you where you tarried; your former experiences, your doc.u.ments are at fault. You are the fellow traveller of a bird. The bird alights and escapes out of time to your footing.

No man's fancy could be beforehand, for instance, with a girl of four years old who dictated a letter to a distant cousin, with the sweet and unimaginable message: "I hope you enjoy yourself with your loving dolls."

A boy, still younger, persuading his mother to come down from the heights and play with him on the floor, but sensible, perhaps, that there was a dignity to be observed none the less, entreated her, "Mother, do be a lady frog." None ever said their good things before these indeliberate authors. Even their own kind--children--have not preceded them. No child in the past ever found the same replies as the girl of five whose father made that appeal to feeling which is doomed to a different, perverse, and unforeseen success. He was rather tired with writing, and had a mind to snare some of the yet uncaptured flock of her sympathies.

"Do you know, I have been working hard, darling? I work to buy things for you." "Do you work," she asked, "to buy the lovely puddin's?" Yes, even for these. The subject must have seemed to her to be worth pursuing. "And do you work to buy the fat? I don't like fat."

The sympathies, nevertheless, are there. The same child was to be soothed at night after a weeping dream that a skater had been drowned in the Kensington Round Pond. It was suggested to her that she should forget it by thinking about the one unfailing and gay subject--her wishes. "Do you know," she said, without loss of time, "what I should like best in all the world? A thundred dolls and a whistle!" Her mother was so overcome by this tremendous numeral, that she could make no offer as to the dolls. But the whistle seemed practicable. "It is for me to whistle for cabs," said the child, with a sudden moderation, "when I go to parties." Another morning she came down radiant, "Did you hear a great noise in the miggle of the night? That was me crying. I cried because I dreamt that Cuckoo [a brother] had swallowed a bead into his nose."

The mere errors of children are unforeseen as nothing is--no, nothing feminine--in this adult world. "I've got a lotter than you," is the word of a very young egotist. An older child says, "I'd better go, bettern't I, mother?" He calls a little s.p.a.ce at the back of a London house, "the backy-garden." A little creature proffers almost daily the reminder at luncheon--at tart-time: "Father, I hope you will remember that I am the favourite of the crust." Moreover, if an author set himself to invent the naif things that children might do in their Christmas plays at home, he would hardly light upon the device of the little _troupe_ who, having no footlights, arranged upon the floor a long row of--candle-shades!

"It's _jolly_ dull without you, mother," says a little girl who--gentlest of the gentle--has a dramatic sense of slang, of which she makes no secret. But she drops her voice somewhat to disguise her feats of metathesis, about which she has doubts and which are involuntary: the "stand-wash," the "sweeping-crosser," the "sewing chamine." Genoese peasants have the same prank when they try to speak Italian.

Children forget last year so well that if they are Londoners they should by any means have an impression of the country or the sea annually. A London little girl watches a fly upon the wing, follows it with her pointing finger, and names it "bird." Her brother, who wants to play with a bronze j.a.panese lobster, ask "Will you please let me have that tiger?"

At times children give to a word that slight variety which is the most touching kind of newness. Thus, a child of three asks you to save him.

How moving a word, and how freshly said! He had heard of the "saving" of other things of interest--especially chocolate creams taken for safe-keeping--and he asks, "Who is going to save me to-day? Nurse is going out, will you save me, mother?" The same little variant upon common use is in another child's courteous reply to a summons to help in the arrangement of some flowers, "I am quite at your ease."

A child, unconscious little author of things told in this record, was taken lately to see a fellow author of somewhat different standing from her own, inasmuch as he is, among other things, a Sat.u.r.day Reviewer. As he dwelt in a part of the South-west of the town unknown to her, she noted with interest the shops of the neighbourhood as she went, for they might be those of the _fournisseurs_ of her friend. "That is his bread shop, and that is his book shop. And that, mother," she said finally, with even heightened sympathy, pausing before a blooming _parterre_ of confectionery hard by the abode of her man of letters, "that, I suppose, is where he buys his sugar pigs."

In all her excursions into streets new to her, this same child is intent upon a certain quest--the quest of a genuine collector. We have all heard of collecting b.u.t.terflies, of collecting china-dogs, of collecting c.o.c.ked hats, and so forth; but her pursuit gives her a joy that costs her nothing except a sharp look-out upon the proper names over all shop-windows. No h.o.a.rd was ever lighter than hers. "I began three weeks ago next Monday, mother," she says with precision, "and I have got thirty- nine." "Thirty-nine what?" "Smiths."

FELLOW TRAVELLERS WITH A BIRD, II.

The mere gathering of children's language would be much like collecting together a handful of flowers that should be all unique, single of their kind. In one thing, however, do children agree, and that is the rejection of most of the conventions of the authors who have reported them. They do not, for example, say "me is;" their natural reply to "are you?" is "I are." One child, p.r.o.nouncing sweetly and neatly, will have nothing but the nominative p.r.o.noun. "Lift I up and let I see it raining," she bids; and told that it does not rain, resumes, "Lift I up and let I see it not raining."

An elder child had a rooted dislike to a brown corduroy suit ordered for her by maternal authority. She wore the garments under protest, and with some resentment. At the same time it was evident that she took no pleasure in hearing her praises sweetly sung by a poet, her friend. He had imagined the making of this child in the counsels of Heaven, and the decreeing of her soft skin, of her brilliant eyes, and of her hair--"a brown tress." She had gravely heard the words as "a brown dress," and she silently bore the poet a grudge for having been the accessory of Providence in the mandate that she should wear the loathed corduroy. The unpractised ear played another little girl a like turn. She had a phrase for snubbing any anecdote that sounded improbable. "That," she said more or less after Sterne, "is a cotton-wool story."

The learning of words is, needless to say, continued long after the years of mere learning to speak. The young child now takes a current word into use, a little at random, and now makes a new one, so as to save the interruption of a pause for search. I have certainly detected, in children old enough to show their motives, a conviction that a word of their own making is as good a communication as another, and as intelligible. There is even a general implicit conviction among them that the grown-up people, too, make words by the wayside as occasion befalls. How otherwise should words be so numerous that every day brings forward some hitherto unheard? The child would be surprised to know how irritably poets are refused the faculty and authority which he thinks to belong to the common world.

There is something very cheerful and courageous in the setting-out of a child on a journey of speech with so small baggage and with so much confidence in the chances of the hedge. He goes free, a simple adventurer. Nor does he make any officious effort to invent anything strange or particularly expressive or descriptive. The child trusts genially to his hearer. A very young boy, excited by his first sight of sunflowers, was eager to describe them, and called them, without allowing himself to be checked for the trifle of a name, "summersets." This was simple and unexpected; so was the comment of a sister a very little older. "Why does he call those flowers summersets?" their mother said; and the girl, with a darkly brilliant look of humour and penetration, answered, "because they are so big." There seemed to be no further question possible after an explanation that was presented thus charged with meaning.

To a later phase of life, when a little girl's vocabulary was, somewhat at random, growing larger, belong a few brave phrases hazarded to express a meaning well realized--a personal matter. Questioned as to the eating of an uncertain number of buns just before lunch, the child averred, "I took them just to appetize my hunger." As she betrayed a familiar knowledge of the tariff of an attractive confectioner, she was asked whether she and her sisters had been frequenting those little tables on their way from school. "I sometimes go in there, mother," she confessed; "but I generally speculate outside."

Children sometimes attempt to cap something perfectly funny with something so flat that you are obliged to turn the conversation. Dryden does the same thing, not with jokes, but with his sublimer pa.s.sages. But sometimes a child's deliberate banter is quite intelligible to elders.

Take the letter written by a little girl to a mother who had, it seems, allowed her family to see that she was inclined to be satisfied with something of her own writing. The child has a full and gay sense of the sweetest kinds of irony. There was no need for her to write, she and her mother being both at home, but the words must have seemed to her worthy of a pen:--"My dear mother, I really wonder how you can be proud of that article, if it is worthy to be called a article, which I doubt. Such a unletterary article. I cannot call it letterature. I hope you will not write any more such unconventionan trash."

This is the saying of a little boy who admired his much younger sister, and thought her forward for her age: "I wish people knew just how old she is, mother, then they would know she is onward. They can see she is pretty, but they can't know she is such a onward baby."

Thus speak the naturally unreluctant; but there are other children who in time betray a little consciousness and a slight _mefiance_ as to where the adult sense of humour may be lurking in wait for them, obscure. These children may not be shy enough to suffer any self-checking in their talk, but they are now and then to be heard slurring a word of which they do not feel too sure. A little girl whose sensitiveness was barely enough to cause her to stop to choose between two words, was wont to bring a cup of tea to the writing-table of her mother, who had often feigned indignation at the weakness of what her Irish maid always called "the infusion." "I'm afraid it's bosh again, mother," said the child; and then, in a half-whisper, "Is bosh right, or wash, mother?" She was not told, and decided for herself, with doubts, for bosh. The afternoon cup left the kitchen an infusion, and reached the library "bosh"

thenceforward.

CHILDREN IN MIDWINTER

Children are so flowerlike that it is always a little fresh surprise to see them blooming in winter. Their tenderness, their down, their colour, their fulness--which is like that of a thick rose or of a tight grape--look out of season. Children in the withering wind are like the soft golden-pink roses that fill the barrows in Oxford Street, breathing a southern calm on the north wind. The child has something better than warmth in the cold, something more subtly out of place and more delicately contrary; and that is coolness. To be cool in the cold is the sign of a vitality quite exquisitely alien from the common conditions of the world. It is to have a naturally, and not an artificially, different and separate climate.

We can all be more or less warm--with fur, with skating, with tea, with fire, and with sleep--in the winter. But the child is fresh in the wind, and wakes cool from his dreams, dewy when there is h.o.a.r-frost everywhere else; he is "more lovely and more temperate" than the summer day and than the winter day alike. He overcomes both heat and cold by another climate, which is the climate of life; but that victory of life is more delicate and more surprising in the tyranny of January. By the sight and the touch of children, we are, as it were, indulged with something finer than a fruit or a flower in untimely bloom. The childish bloom is always untimely. The fruit and flower will be common later on; the strawberries will be a matter of course anon, and the asparagus dull in its day. But a child is a perpetual _primeur_.

Or rather he is not in truth always untimely. Some few days in the year are his own season--unnoticed days of March or April, soft, fresh and equal, when the child sleeps and rises with the sun. Then he looks as though he had his brief season, and ceases for a while to seem strange.

It is no wonder that we should try to attribute the times of the year to children; their likeness is so rife among annuals. For man and woman we are naturally accustomed to a longer rhythm; their metre is so obviously their own, and of but a single stanza, without repet.i.tion, without renewel, without refrain. But it is by an intelligible illusion that we look for a quick waxing and waning in the lives of young children--for a waxing that shall come again another time, and for a waning that shall not be final, shall not be fatal. But every winter shows us how human they are, and how they are little pilgrims and visitants among the things that look like their kin. For every winter shows them free from the east wind; more perfectly than their elders, they enclose the climate of life.

And, moreover, with them the climate of life is the climate of the spring of life; the climate of a human March that is sure to make a constant progress, and of a human April that never hesitates. The child "breathes April and May"--an inner April and his own May.

The winter child looks so much the more beautiful for the season as his most brilliant uncles and aunts look less well. He is tender and gay in the east wind. Now more than ever must the lover beware of making a comparison between the beauty of the admired woman and the beauty of a child. He is indeed too wary ever to make it. So is the poet. As comparisons are necessary to him, he will pay a frankly impossible homage, and compare a woman's face to something too fine, to something it never could emulate. The Elizabethan lyrist is safe among lilies and cherries, roses, pearls, and snow. He undertakes the beautiful office of flattery, and flatters with courage. There is no hidden reproach in the praise. Pearls and snow suffer, in a sham fight, a mimic defeat that does them no harm, and no harm comes to the lady's beauty from a compet.i.tion so impossible. She never wore a lily or a coral in the colours of her face, and their beauty is not hers. But here is the secret: she is compared with a flower because she could not endure to be compared with a child. That would touch her too nearly. There would be the human texture and the life like hers, but immeasurably more lovely.

No colour, no surface, no eyes of woman have ever been comparable with the colour, the surface, and the eyes of childhood. And no poet has ever run the risk of such a defeat. Why, it is defeat enough for a woman to have her face, however well-favoured, close to a child's, even if there is no one by who should be rash enough to approach them still nearer by a comparison.

This, needless to say, is true of no other kind of beauty than that beauty of light, colour, and surface to which the Elizabethans referred, and which suggested their flatteries in disfavour of the lily. There are, indeed, other adult beauties, but those are such as make no allusions to the garden. What is here affirmed is that the beautiful woman who is widely and wisely likened to the flowers, which are inaccessibly more beautiful, must not, for her own sake, be likened to the always accessible child.

Besides light and colour, children have a beauty of finish which is much beyond that of more finished years. This gratuitous addition, this completeness, is one of their unexpected advantages. Their beauty of finish is the peculiarity of their first childhood, and loses, as years are added, that little extra character and that surprise of perfection. A bloom disappears, for instance. In some little children the whole face, and especially all the s.p.a.ce between the growth of the eyebrows and the growth of the hair, is covered with hardly perceptible down as soft as bloom. Look then at the eyebrows themselves. Their line is as definite as in later life, but there is in the child the flush given by the exceeding fineness of the delicate hairs. Moreover, what becomes, afterwards, of the length and the curl of the eyelash? What is there in growing up that is destructive of a finish so charming as this?

Queen Elizabeth forbade any light to visit her face "from the right or from the left" when her portrait was a-painting. She was an observant woman, and liked to be lighted from the front. It is a light from the right or from the left that marks an elderly face with minute shadows.

And you must place a child in such a light, in order to see the finis.h.i.+ng and parting caress that infancy has given to his face. The down will then be found even on the thinnest and clearest skin of the middle red of his cheek. His hair, too, is imponderably fine, and his nails are not much harder than petals.

To return to the child in January. It is his month for the laying up of dreams. No one can tell whether it is so with all children, or even with a majority; but with some children, of pa.s.sionate fancy, there occurs now and then a children's dance, or a party of any kind, which has a charm and glory mingled with uncertain dreams. Never forgotten, and yet never certainly remembered as a fact of this life, is such an evening. When many and many a later pleasure, about the reality of which there never was any kind of doubt, has been long forgotten, that evening--as to which all is doubt--is impossible to forget. In a few years it has become so remote that the history of Greece derives antiquity from it. In later years it is still doubtful, still a legend.

The child never asked how much was fact. It was always so immeasurably long ago that the sweet party happened--if indeed it happened. It had so long taken its place in that past wherein lurks all the antiquity of the world. No one would know, no one could tell him, precisely what occurred. And who can know whether--if it be indeed a dream--he has dreamt it often, or has dreamt once that he had dreamt it often? That dubious night is entangled in repeated visions during the lonely life a child lives in sleep; it is intricate with illusions. It becomes the most mysterious and the least worldly of all memories, a spiritual past.

The word pleasure is too trivial for such a remembrance. A midwinter long gone by contained the suggestion of such dreams; and the midwinter of this year must doubtless be preparing for the heart of many an ardent young child a like legend and a like antiquity. For the old it is a mere present.

THAT PRETTY PERSON

During the many years in which "evolution" was the favourite word, one significant lesson--so it seems--was learnt, which has outlived controversy, and has remained longer than the questions at issue--an interesting and unnoticed thing cast up by the storm of thoughts. This is a disposition, a general consent, to find the use and the value of process, and even to understand a kind of repose in the very wayfaring of progress. With this is a resignation to change, and something more than resignation--a delight in those qualities that could not be but for their transitoriness.

What, then, is this but the admiration, at last confessed by the world, for childhood? Time was when childhood was but borne with, and that for the sake of its mere promise of manhood. We do not now hold, perhaps, that promise so high. Even, nevertheless, if we held it high, we should acknowledge the approach to be a state adorned with its own conditions.

But it was not so once. As the primitive lullaby is nothing but a patient prophecy (the mother's), so was education, some two hundred years ago, nothing but an impatient prophecy (the father's) of the full stature of body and mind. The Indian woman sings of the future hunting. If her song is not restless, it is because she has a sense of the results of time, and has submitted her heart to experience. Childhood is a time of danger; "Would it were done." But, meanwhile, the right thing is to put it to sleep and guard its slumbers. It will pa.s.s. She sings prophecies to the child of his hunting, as she sings a song about the robe while she spins, and a song about bread as she grinds corn. She bids good speed.

John Evelyn was equally eager, and not so submissive. His child--"that pretty person" in Jeremy Taylor's letter of condolence--was chiefly precious to him inasmuch as he was, too soon, a likeness of the man he never lived to be. The father, writing with tears when the boy was dead, says of him: "At two and a half years of age he p.r.o.nounced English, Latin, and French exactly, and could perfectly read in these three languages." As he lived precisely five years, all he did was done at that little age, and it comprised this: "He got by heart almost the entire vocabulary of Latin and French primitives and words, could make congruous syntax, turn English into Latin, and _vice versa_, construe and prove what he read, and did the government and use of relatives, verbs, substantives, ellipses, and many figures and tropes, and made a considerable progress in Comenius's 'Janua,' and had a strong pa.s.sion for Greek."

Grant that this may be a little abated, because a very serious man is not to be too much believed when he is describing what he admires; it is the very fact of his admiration that is so curious a sign of those hasty times. All being favorable, the child of Evelyn's studious home would have done all these things in the course of nature within a few years. It was the fact that he did them out of the course of nature that was, to Evelyn, so exquisite. The course of nature had not any beauty in his eyes. It might be borne with for the sake of the end, but it was not admired for the majesty of its unhasting process. Jeremy Taylor mourns with him "the strangely hopeful child," who--without Comenius's "Janua"

and without congruous syntax--was fulfilling, had they known it, an appropriate hope, answering a distinctive prophecy, and crowning and closing a separate expectation every day of his five years.