A Miscellany of Men Part 5

"What do you mean?" asked the man with the cigar, with a bullying eye.

"Who yer talking about?"

"I'm talking about what you were talking about," I replied; "as you put it so perfectly, about the handful of obstinate fellows who are standing between the country and the coal. I mean the men who are selling their own coal for fancy prices, and who, as long as they can get those prices, care as little for national starvation as most merchant princes and pirates have cared for the provinces that were wasted or the peoples that were enslaved just before their ships came home. But though I am a bit of a revolutionist myself, I cannot quite go with you in the extreme violence you suggest. You say—"

"I say," he cried, bursting through my speech with a really splendid energy like that of some n.o.ble beast, "I say I'd take all these blasted miners and—"

I had risen slowly to my feet, for I was profoundly moved; and I stood staring at that mental monster.

"Oh," I said, "so it is the miners who are all to be sent to penal servitude, so that we may get more coal. It is the miners who are to be shot dead, every man Jack of them; for if once they are all shot dead they will start mining again...You must forgive me, sir; I know I seem somewhat moved. The fact is, I have just found something. Something I have been looking for for years."

"Well," he asked, with no unfriendly stare, "and what have you found?"

"No," I answered, shaking my head sadly, "I do not think it would be quite kind to tell you what I have found."

He had a hundred virtues, including the capital virtue of good humour, and we had no difficulty in changing the subject and forgetting the disagreement. He talked about society, his town friends and his country sports, and I discovered in the course of it that he was a county magistrate, a Member of Parliament, and a director of several important companies. He was also that other thing, which I did not tell him.

The moral is that a certain sort of person does exist, to whose glory this article is dedicated. He is not the ordinary man. He is not the miner, who is sharp enough to ask for the necessities of existence. He is not the mine-owner, who is sharp enough to get a great deal more, by selling his coal at the best possible moment. He is not the aristocratic politician, who has a cynical but a fair sympathy with both economic opportunities. But he is the man who appears in scores of public places open to the upper middle cla.s.s or (that less known but more powerful section) the lower upper cla.s.s. Men like this all over the country are really saying whatever comes into their heads in their capacities of justice of the peace, candidate for Parliament, Colonel of the Yeomanry, old family doctor, Poor Law guardian, coroner, or above all, arbiter in trade disputes. He suffers, in the literal sense, from softening of the brain; he has softened it by always taking the view of everything most comfortable for his country, his cla.s.s, and his private personality.

He is a deadly public danger. But as I have given him his name at the beginning of this article there is no need for me to repeat it at the end.

THE CONSCRIPT AND THE CRISIS

Very few of us ever see the history of our own time happening. And I think the best service a modern journalist can do to society is to record as plainly as ever he can exactly what impression was produced on his mind by anything he has actually seen and heard on the outskirts of any modern problem or campaign. Though all he saw of a railway strike was a flat meadow in Ess.e.x in which a train was becalmed for an hour or two, he will probably throw more light on the strike by describing this which he has seen than by describing the steely kings of commerce and the b.l.o.o.d.y leaders of the mob whom he has never seen—nor any one else either. If he comes a day too late for the battle of Waterloo (as happened to a friend of my grandfather) he should still remember that a true account of the day after Waterloo would be a most valuable thing to have. Though he was on the wrong side of the door when Rizzio was being murdered, we should still like to have the wrong side described in the right way. Upon this principle I, who know nothing of diplomacy or military arrangements, and have only held my breath like the rest of the world while France and Germany were bargaining, will tell quite truthfully of a small scene I saw, one of the thousand scenes that were, so to speak, the anterooms of that inmost chamber of debate.

In the course of a certain morning I came into one of the quiet squares of a small French town and found its cathedral. It was one of those gray and rainy days which rather suit the Gothic. The clouds were leaden, like the solid blue-gray lead of the spires and the jewelled windows; the sloping roofs and high-shouldered arches looked like cloaks drooping with damp; and the stiff gargoyles that stood out round the walls were scoured with old rains and new. I went into the round, deep porch with many doors and found two grubby children playing there out of the rain.

I also found a notice of services, etc., and among these I found the announcement that at 11.30 (that is about half an hour later) there would be a special service for the Conscripts, that is to say, the draft of young men who were being taken from their homes in that little town and sent to serve in the French Army; sent (as it happened) at an awful moment, when the French Army was encamped at a parting of the ways.

There were already a great many people there when I entered, not only of all kinds, but in all att.i.tudes, kneeling, sitting, or standing about. And there was that general sense that strikes every man from a Protestant country, whether he dislikes the Catholic atmosphere or likes it; I mean, the general sense that the thing was "going on all the time"; that it was not an occasion, but a perpetual process, as if it were a sort of mystical inn.

Several tricolours were hung quite near to the altar, and the young men, when they came in, filed up the church and sat right at the front.

They were, of course, of every imaginable social grade; for the French conscription is really strict and universal. Some looked like young criminals, some like young priests, some like both. Some were so obviously prosperous and polished that a barrack-room must seem to them like h.e.l.l; others (by the look of them) had hardly ever been in so decent a place. But it was not so much the mere cla.s.s variety that most sharply caught an Englishman's eye. It was the presence of just those one or two kinds of men who would never have become soldiers in any other way.

There are many reasons for becoming a soldier. It may be a matter of hereditary luck or abject hunger or heroic virtue or fugitive vice; it may be an interest in the work or a lack of interest in any other work.

But there would always be two or three kinds of people who would never tend to soldiering; all those kinds of people were there. A lad with red hair, large ears, and very careful clothing, somehow conveyed across the church that he had always taken care of his health, not even from thinking about it, but simply because he was told, and that he was one of those who pa.s.s from childhood to manhood without any shock of being a man. In the row in front of him there was a very slight and vivid little Jew, of the sort that is a tailor and a Socialist. By one of those accidents that make real life so unlike anything else, he was the one of the company who seemed especially devout. Behind these stiff or sensitive boys were ranged the ranks of their mothers and fathers, with knots and bunches of their little brothers and sisters.

The children kicked their little legs, wriggled about the seats, and gaped at the arched roof while their mothers were on their knees praying their own prayers, and here and there crying. The gray clouds of rain outside gathered, I suppose, more and more; for the deep church continuously darkened. The lads in front began to sing a military hymn in odd, rather strained voices; I could not disentangle the words, but only one perpetual refrain; so that it sounded like

Sacrarterumbrrar pour la patrie, Valdarkararump pour la patrie.

Then this ceased; and silence continued, the coloured windows growing gloomier and gloomier with the clouds. In the dead stillness a child started crying suddenly and incoherently. In a city far to the north a French diplomatist and a German aristocrat were talking.

I will not make any commentary on the thing that could blur the outline of its almost cruel actuality. I will not talk nor allow any one else to talk about "clericalism" and "militarism." Those who talk like that are made of the same mud as those who call all the angers of the unfortunate "Socialism." The women who were calling in the gloom around me on G.o.d and the Mother of G.o.d were not "clericalists"; or, if they were, they had forgotten it. And I will bet my boots the young men were not "militarists"—quite the other way just then. The priest made a short speech; he did not utter any priestly dogmas (whatever they are), he uttered plat.i.tudes. In such circ.u.mstances plat.i.tudes are the only possible things to say; because they are true. He began by saying that he supposed a large number of them would be uncommonly glad not to go.

They seemed to a.s.sent to this particular priestly dogma with even more than their alleged superst.i.tious credulity. He said that war was hateful, and that we all hated it; but that "in all things reasonable"

the law of one's own commonwealth was the voice of G.o.d. He spoke about Joan of Arc; and how she had managed to be a bold and successful soldier while still preserving her virtue and practising her religion; then he gave them each a little paper book. To which they replied (after a brief interval for reflection):

Pongp.r.o.ngperesklang pour la patrie, Tambraugtararronc pour la patrie.

which I feel sure was the best and most pointed reply.

While all this was happening feelings quite indescribable crowded about my own darkening brain, as the clouds crowded above the darkening church. They were so entirely of the elements and the pa.s.sions that I cannot utter them in an idea, but only in an image. It seemed to me that we were barricaded in this church, but we could not tell what was happening outside the church. The monstrous and terrible jewels of the windows darkened or glistened under moving shadow or light, but the nature of that light and the shapes of those shadows we did not know and hardly dared to guess. The dream began, I think, with a dim fancy that enemies were already in the town, and that the enormous oaken doors were groaning under their hammers. Then I seemed to suppose that the town itself had been destroyed by fire, and effaced, as it may be thousands of years hence, and that if I opened the door I should come out on a wilderness as flat and sterile as the sea. Then the vision behind the veil of stone and slate grew wilder with earthquakes. I seemed to see chasms cloven to the foundations of all things, and letting up an infernal dawn. Huge things happily hidden from us had climbed out of the abyss, and were striding about taller than the clouds. And when the darkness crept from the sapphires of Mary to the sanguine garments of St. John I fancied that some hideous giant was walking round the church and looking in at each window in turn.

Sometimes, again, I thought of that church with coloured windows as a ship carrying many lanterns struggling in a high sea at night. Sometimes I thought of it as a great coloured lantern itself, hung on an iron chain out of heaven and tossed and swung to and fro by strong wings, the wings of the princes of the air. But I never thought of it or the young men inside it save as something precious and in peril, or of the things outside but as something barbaric and enormous.

I know there are some who cannot sympathise with such sentiments of limitation; I know there are some who would feel no touch of the heroic tenderness if some day a young man, with red hair, large ears, and his mother's lozenges in his pocket, were found dead in uniform in the pa.s.ses of the Vosges. But on this subject I have heard many philosophies and thought a good deal for myself; and the conclusion I have come to is Sacrarterumbrrar pour la Pattie, and it is not likely that I shall alter it now.

But when I came out of the church there were none of these things, but only a lot of Shops, including a paper-shop, on which the posters announced that the negotiations were proceeding satisfactorily.

THE MISER AND HIS FRIENDS

It is a sign of sharp sickness in a society when it is actually led by some special sort of lunatic. A mild touch of madness may even keep a man sane; for it may keep him modest. So some exaggerations in the State may remind it of its own normal. But it is bad when the head is cracked; when the roof of the commonwealth has a tile loose.

The two or three cases of this that occur in history have always been gibbeted gigantically. Thus Nero has become a black proverb, not merely because he was an oppressor, but because he was also an aesthete—that is, an erotomaniac. He not only tortured other people's bodies; he tortured his own soul into the same red revolting shapes. Though he came quite early in Roman Imperial history and was followed by many austere and n.o.ble emperors, yet for us the Roman Empire was never quite cleansed of that memory of the s.e.xual madman. The populace or barbarians from whom we come could not forget the hour when they came to the highest place of the earth, saw the huge pedestal of the earthly omnipotence, read on it Divus Caesar, and looked up and saw a statue without a head.

It is the same with that ugly entanglement before the Renaissance, from which, alas, most memories of the Middle Ages are derived. Louis XI was a very patient and practical man of the world; but (like many good business men) he was mad. The morbidity of the intriguer and the torturer clung about everything he did, even when it was right. And just as the great Empire of Antoninus and Aurelius never wiped out Nero, so even the silver splendour of the latter saints, such as Vincent de Paul, has never painted out for the British public the crooked shadow of Louis XI. Whenever the unhealthy man has been on top, he has left a horrible savour that humanity finds still in its nostrils. Now in our time the unhealthy man is on top; but he is not the man mad on s.e.x, like Nero; or mad on statecraft, like Louis XI; he is simply the man mad on money. Our tyrant is not the satyr or the torturer; but the miser.

The modern miser has changed much from the miser of legend and anecdote; but only because he has grown yet more insane. The old miser had some touch of the human artist about him in so far that he collected gold—a substance that can really be admired for itself, like ivory or old oak. An old man who picked up yellow pieces had something of the simple ardour, something of the mystical materialism, of a child who picks out yellow flowers. Gold is but one kind of coloured clay, but coloured clay can be very beautiful. The modern idolater of riches is content with far less genuine things. The glitter of guineas is like the glitter of b.u.t.tercups, the c.h.i.n.k of pelf is like the chime of bells, compared with the dreary papers and dead calculations which make the hobby of the modern miser.

The modern millionaire loves nothing so lovable as a coin. He is content sometimes with the dead crackle of notes; but far more often with the mere repet.i.tion of noughts in a ledger, all as like each other as eggs to eggs. And as for comfort, the old miser could be comfortable, as many tramps and savages are, when he was once used to being unclean. A man could find some comfort in an unswept attic or an unwashed shirt. But the Yankee millionaire can find no comfort with five telephones at his bed-head and ten minutes for his lunch. The round coins in the miser's stocking were safe in some sense. The round noughts in the millionaire's ledger are safe in no sense; the same fluctuation which excites him with their increase depresses him with their diminution. The miser at least collects coins; his hobby is numismatics. The man who collects noughts collects nothings.

It may be admitted that the man ama.s.sing millions is a bit of an idiot; but it may be asked in what sense does he rule the modern world. The answer to this is very important and rather curious. The evil enigma for us here is not the rich, but the Very Rich. The distinction is important; because this special problem is separate from the old general quarrel about rich and poor that runs through the Bible and all strong books, old and new. The special problem to-day is that certain powers and privileges have grown so world-wide and unwieldy that they are out of the power of the moderately rich as well as of the moderately poor. They are out of the power of everybody except a few millionaires—that is, misers. In the old normal friction of normal wealth and poverty I am myself on the Radical side. I think that a Berkshire squire has too much power over his tenants; that a Brompton builder has too much power over his workmen; that a West London doctor has too much power over the poor patients in the West London Hospital.

But a Berkshire squire has no power over cosmopolitan finance, for instance. A Brompton builder has not money enough to run a Newspaper Trust. A West End doctor could not make a corner in quinine and freeze everybody out. The merely rich are not rich enough to rule the modern market. The things that change modern history, the big national and international loans, the big educational and philanthropic foundations, the purchase of numberless newspapers, the big prices paid for peerages, the big expenses often incurred in elections—these are getting too big for everybody except the misers; the men with the largest of earthly fortunes and the smallest of earthly aims.

There are two other odd and rather important things to be said about them. The first is this: that with this aristocracy we do not have the chance of a lucky variety in types which belongs to larger and looser aristocracies. The moderately rich include all kinds of people even good people. Even priests are sometimes saints; and even soldiers are sometimes heroes. Some doctors have really grown wealthy by curing their patients and not by flattering them; some brewers have been known to sell beer. But among the Very Rich you will never find a really generous man, even by accident. They may give their money away, but they will never give themselves away; they are egoistic, secretive, dry as old bones. To be smart enough to get all that money you must be dull enough to want it.

Lastly, the most serious point about them is this: that the new miser is flattered for his meanness and the old one never was. It was never called self-denial in the old miser that he lived on bones. It is called self-denial in the new millionaire if he lives on beans. A man like Dancer was never praised as a Christian saint for going in rags. A man like Rockefeller is praised as a sort of pagan stoic for his early rising or his una.s.suming dress. His "simple" meals, his "simple"

clothes, his "simple" funeral, are all extolled as if they were creditable to him. They are disgraceful to him: exactly as disgraceful as the tatters and vermin of the old miser were disgraceful to him. To be in rags for charity would be the condition of a saint; to be in rags for money was that of a filthy old fool. Precisely in the same way, to be "simple" for charity is the state of a saint; to be "simple" for money is that of a filthy old fool. Of the two I have more respect for the old miser, gnawing bones in an attic: if he was not nearer to G.o.d, he was at least a little nearer to men. His simple life was a little more like the life of the real poor.

THE MYSTAGOGUE

Whenever you hear much of things being unutterable and indefinable and impalpable and unnamable and subtly indescribable, then elevate your aristocratic nose towards heaven and snuff up the smell of decay. It is perfectly true that there is something in all good things that is beyond all speech or figure of speech. But it is also true that there is in all good things a perpetual desire for expression and concrete embodiment; and though the attempt to embody it is always inadequate, the attempt is always made. If the idea does not seek to be the word, the chances are that it is an evil idea. If the word is not made flesh it is a bad word.

Thus Giotto or Fra Angelico would have at once admitted theologically that G.o.d was too good to be painted; but they would always try to paint Him. And they felt (very rightly) that representing Him as a rather quaint old man with a gold crown and a white beard, like a king of the elves, was less profane than resisting the sacred impulse to express Him in some way. That is why the Christian world is full of gaudy pictures and twisted statues which seem, to many refined persons, more blasphemous than the secret volumes of an atheist. The trend of good is always towards Incarnation. But, on the other hand, those refined thinkers who worship the Devil, whether in the swamps of Jamaica or the salons of Paris, always insist upon the shapelessness, the wordlessness, the unutterable character of the abomination. They call him "horror of emptiness," as did the black witch in Stevenson's Dynamiter; they worship him as the unspeakable name; as the unbearable silence. They think of him as the void in the heart of the whirlwind; the cloud on the brain of the maniac; the toppling turrets of vertigo or the endless corridors of nightmare. It was the Christians who gave the Devil a grotesque and energetic outline, with sharp horns and spiked tail. It was the saints who drew Satan as comic and even lively. The Satanists never drew him at all.

And as it is with moral good and evil, so it is also with mental clarity and mental confusion. There is one very valid test by which we may separate genuine, if perverse and unbalanced, originality and revolt from mere impudent innovation and bluff. The man who really thinks he has an idea will always try to explain that idea. The charlatan who has no idea will always confine himself to explaining that it is much too subtle to be explained. The first idea may really be very outree or specialist; it may really be very difficult to express to ordinary people. But because the man is trying to express it, it is most probable that there is something in it, after all. The honest man is he who is always trying to utter the unutterable, to describe the indescribable; but the quack lives not by plunging into mystery, but by refusing to come out of it.

Perhaps this distinction is most comically plain in the case of the thing called Art, and the people called Art Critics. It is obvious that an attractive landscape or a living face can only half express the holy cunning that has made them what they are. It is equally obvious that a landscape painter expresses only half of the landscape; a portrait painter only half of the person; they are lucky if they express so much.

And again it is yet more obvious that any literary description of the pictures can only express half of them, and that the less important half. Still, it does express something; the thread is not broken that connects G.o.d With Nature, or Nature with men, or men with critics. The "Mona Lisa" was in some respects (not all, I fancy) what G.o.d meant her to be. Leonardo's picture was, in some respects, like the lady. And Walter Pater's rich description was, in some respects, like the picture.

Thus we come to the consoling reflection that even literature, in the last resort, can express something other than its own unhappy self.

Now the modern critic is a humbug, because he professes to be entirely inarticulate. Speech is his whole business; and he boasts of being speechless. Before Botticelli he is mute. But if there is any good in Botticelli (there is much good, and much evil too) it is emphatically the critic's business to explain it: to translate it from terms of painting into terms of diction. Of course, the rendering will be inadequate—but so is Botticelli. It is a fact he would be the first to admit. But anything which has been intelligently received can at least be intelligently suggested. Pater does suggest an intelligent cause for the cadaverous colour of Botticelli's "Venus Rising from the Sea." Ruskin does suggest an intelligent motive for Turner destroying forests and falsifying landscapes. These two great critics were far too fastidious for my taste; they urged to excess the idea that a sense of art was a sort of secret; to be patiently taught and slowly learnt.

Still, they thought it could be taught: they thought it could be learnt.