Alone Part 20

"A company, a company."

"A company consists of a certain number of human beings. Why make mysteries about one of them? It may happen to the best of mankind to be mixed up----"

"Mixed up----"

"You are going to be disagreeable about my choice of words. Have it your way! We all know you think you can talk better Italian than the Pope. My own father, I was going to say, has been involved in some pretty dirty work in the course of his professional career----"

"No doubt, no doubt."

"And please to note that he is as good a man as any brother of yours."

"You always miss my point."

"Now try to be truthful, for once in your life. Out with it!"

"A liqueur."

"Is that all? Sleep does not seem to have sharpened your wits to any great extent."

"I was not asleep. I was thinking about eggs. A company."

"A company? You are waking up. Anything else?"

"An injunction...."

A distinguished writer some years ago started a crusade in favour of pure English. He wished to counteract those influences which are forever at work debasing the standard of language; whether, as he seemed to think, that standard should be inalterably fixed, is yet another question. For in literature as in conversation there is a "pure English"

for every moment of history; that of our childhood is different from to-day's; and to adopt the tongue of the Bible or Shakespeare, because it happens to be pure, looks like setting back the hands of the clock.

Men would surely be dull dogs if their phraseology, whether written or spoken, were to remain stagnant and unchangeable. We think well of Johnson's prose. Yet the respectable English of our own time will bear comparison with his; it is more agile and less infected with Latinisms; why go back to Johnson? Let us admire him as a landmark, and pa.s.s on!

Some literary periods may deserve to be called good, others bad; so be it. Were there no bad ones, there would be no good ones, and I see no reason why men should desire to live in a Golden Age of literature, save in so far as that millennium might coincide with a Golden Age of living.

I doubt, in the first place, whether they would be even aware of their privilege; secondly, every Golden Age grows fairer when viewed from a distance. Besides, and as a general consideration, it strikes me that a vast deal of mischief is involved in these arbitrary divisions of literature into golden or other epochs; they incite men to admire some mediocre writers and to disparage others, they pervert our natural taste, and their origin is academic laziness.

Certain it is that every language worthy of the name should be in a state of perennial flux, ready and avid to a.s.similate new elements and be battered about as we ourselves are--is there anything more charming than a thoroughly defective verb?--fresh particles creeping into its vocabulary from all quarters, while others are silently discarded. There is a bar-sinister on the escutcheon of many a n.o.ble term, and if, in an access of formalism, we refuse hospitality to some item of questionable repute, our descendants may be deprived of a linguistic jewel. Is the calamity worth risking when time, and time alone, can decide its worth?

Why not capture novelties while we may, since others are dying all the year round; why not throw them into the crucible to take their chance with the rest of us? An English word is no fossil to be locked up in a cabinet, but a living thing, liable to the fate of all such things.

Glance back into Chaucer and note how they have thriven on their own merits and not on professorial recommendations; thriven, or perished, or put on new faces!

I would make an exception to this rule. Foreign importations which do not belong to us by right, idioms we have enticed from over the sea for one reason or another, ought to remain, as it were, stereotyped. They are respected guests and cannot decently be jostled in our crowd; let them be jostled in their own; here, on British soil, they should be allowed to retain that primal signification which, in default of a corresponding English term, they were originally taken over to express.

What prompts me to this exordium is the discovery that a few pages back, with a blameworthy hankering after the picturesque, I have grossly misused a foreign word. Those cats in Trajan's Forum at Rome are nowise a "macabre exhibition"; they are not macabre in the least; they are sad, or saddening. The charnel-house flavour is absent.

My apologies to the French language, to the cats, and to the reader....

Now whoever wishes to see a truly macabre exhibition at Rome may visit the Peruvian mummies in the Kircher Museum. It is characteristic of the spirit in which guide-books are written that, while devoting long paragraphs to some worthless picture of a hallucinated venerable, they hardly utter a word about these most remarkable and gruesome objects.

Those old Peruvians, like the Egyptians, had necrophilous leanings. They cultivated an unwholesome pa.s.sion for corpses, and called it religion.

Many museums contain such relics from the New World in various att.i.tudes of discomfort; frequently seated, as though trying to be at rest after life's long journey. No two are alike; and all are horrible of aspect.

Some have been treated with balsam to preserve the softer parts; others are shrivelled. Some are filled with chopped straw, like any stuffed crocodile in a show; others contain precious coca-leaves and powdered fragments of sh.e.l.l, which were doubtless placed there so that the defunct might receive nourishment up to the time when his soul should once more have rejoined the body. Every one knows, furthermore, that these American ancients were fond of playing tricks with the shape of the skull--a custom which was forbidden by the Synod of Lima in 1585 and which Hippocrates describes as being practised among the inhabitants of the Crimea. [26] It adds considerably to their ghastly appearance.

One looks at them and asks oneself: what are they now, these gentle Incas who loved the arts and music, these children of the Sun, whose civic acquirements amazed their conquerors? They have contrived to transform themselves into something quite unusual. Staring orbits and mouths agape, colour-patches here and there, morsels of muscle and hair attached to contorted limbs--they suggest a half-way house, a loathsome link, between a living man and his skeleton; and not only a link between them, but a grim caricature of both. Some have been coated with varnish.

They glisten infamously. Picture a decrepit and rather gaunt relative of your own, writhing in a fit, stark naked, and varnished all over----

Different are these mummies from those of the tenaciously unimaginative and routine-bound Egyptians. Theirs are dead as a door-nail; torpid lumps, undistinguishable one from the other. Here we have a rare phenomenon--life, and individuality, after death. They are more noteworthy than the cowled and desiccated monks of Italy or Sicily, or at least differently so; undraped, for the most part, though some of them may be seen, mere skin-covered heads, peering with dismal coyness out of a brown sack. And the jabbering teeth.... We dream as children of night-terrors, of goblins and phantoms that start out of the gloom and flit about with hideous grimaces. They are gone, while yet we shudder at that momentary flash of grizzliness; intangibilities, whose image is not easily detained. To see spectral visions embodied, and ghosts made flesh, one should come here. Had the excruciating operation of embalming been performed upon live men and women, their poses could hardly have been more multifariously agonised; and an aesthete may speculate as to how far such objects offend, in expression of blank misery and horror, against the canons of what is held to be artistically desirable. The nearest approach to them in human craftsmanship, and as regards Auffa.s.sung, are perhaps some little j.a.panese wood-carvings whose creators, labouring consciously, likewise overstepped the boundaries of the grotesque and indulged in nightmarish effects of line similar to those which the old Peruvians, all unconsciously, have achieved upon the bodies of their dear friends and relatives....

Drive swiftly thence, if you are in the mood, as you should be, for something at the other pole of feeling, to view that wonder, the kneeling boy at the Museo delle Terme. Headless and armless though he be, he displays as much vitality as the Peruvians; every inch of the body is alive, and one may well marvel at the skill of the artist who, during his interminable task of sculpture, held fast the model's fleeting outline--so fleeting, at that particular age of life, that every month, and every week, brings about new conditions of surface and texture. A child of Niobe? Very likely. There is suffering also here, a suffering different from theirs; struck by the Sun-G.o.d's arrow, he is in the act of sinking to earth. Over this tension broods a divine calm.

Here is the antidote to mummified Incas.

Alatri

What brought me to Alatri?

Memories of a conversation, by Tiber banks, with Fausto, who was born here and vaunted it to be the fairest city on earth. Rome was quite a pa.s.sable place, but as to Alatri----

"You never saw such walls in all your life. They are not walls. They are precipices. And our water is colder than the Acqua Marcia."

"Walls and water say little to me. But if the town produces other citizens like yourself----"

"It does indeed! I am the least of the sons of Alatri."

"Then it must be worthy of a visit...."

In the hottest hour of the afternoon they deposited me outside the city gate at some new hotel--I forget its name--to which I promptly took an unreasoning dislike. There was a fine view upon the mountains from the window of the room a.s.signed to me, but nothing could atone for that lack of individuality which seemed to exhale from the establishment and its proprietors. It looked as though I were to be a cypher here. Half an hour was as much as I could endure. Issuing forth despite the heat, I captured a young fellow and bade him carry my bags whithersoever he pleased. He took me to the Albergo della----

The Albergo della----is a shy and retiring hostelry, invisible as such to the naked eye, since it bears no sign of being a place of public entertainment at all. Here was individuality, and to spare. Mine host is an improvement even upon him of the Pergola at Valmontone; a man after my own heart, with merry eyes, drooping white moustache and a lordly nose--a nose of the right kind, a flame-tinted structure which must have cost years of patient labour to bring to its present state of blossoming. That nose! I felt as though I could dwell for ever beneath its shadow. The fare, however, is not up to the standard of the "Garibaldi" inn at Frosinone which I have just left.

Now Frosinone is no tourist resort. It is rather a dull little place; I am never likely to go there again, and have therefore no reason for keeping to myself its "Garibaldi" hotel which leaves little to be desired, even under these distressful war-conditions. It set me thinking--thinking that there are not many townlets of this size in rural England which can boast of inns comparable to the "Garibaldi" in point of cleanliness, polite attention, varied and good food, reasonable prices. Not many; perhaps very few. One remembers a fair number of the other kind, however; that kind where the fare is monotonous and badly cooked, the attendance supercilious or inefficient, and where you have to walk across a cold room at night--refinement of torture--in order to turn out the electric light ere going to bed. That infamy is alone enough to condemn these establishments, one and all.

Yes! And the beds; those frowsy, creaky, prehistoric wooden concerns, always six or eight inches too short, whose mattresses have not been turned round since they were made. What happens? You clamber into such a receptacle and straightway roll downhill, down into its centre, into a kind of river-bed where you remain fixed fast, while that monstrous feather-abomination called a pillow, yielding to pressure, rises up on either side of your head and engulfs eyes and nose and everything else into its folds. No escape! You are strangled, smothered; you might as well have gone to bed with an octopus. In this horrid contrivance you lie for eight long hours, clapped down like a corpse in its coffin.

Every single bed in rural England ought to be burnt. Not one of them is fit for a Christian to sleep in....

The days are growing hot.

A little tract of woodland surrounded by white walls and attached to the convent on the neighbouring hill is a pleasant spot to while away the afternoon hours. You can have it to yourself. I have all Alatri to myself; a state of affairs which is not without its disadvantages, for, being the only foreigner here, one is naturally watched and regarded with suspicion. And it would be even worse in less civilised places, where one could count for certain on trouble with some conscientious official. So one remains on the beaten track, although my reputation here as non-Austrian (n.o.body bothers about the Germans) is fairly well established since that memorable debate, in the local cafe, with a bootmaker who, having spent three years in America, testified publicly that I spoke English almost as well as he did. The little newsboy of the place, who is a universal favourite, seeing that his father, a lithographer, is serving a stiff sentence for forgery--he brings me every day with the morning's paper the latest gossip concerning myself.

"Mr. So-and-so still says you are a spy. It is sheer malice."

"I know. Did you tell him he might----?"

"I did. He was very angry. I also told him the remark you made about his mother."

"Tell him again, to-morrow."

It seldom pays to be rude. It never pays to be only half rude.

In October--and we are now at midsummer--there occurred a little adventure which shows the risks one may run at a time like this.

I was in Rome, walking homewards at about eleven at night along the still crowded Corso and thinking, as I went along, of my impending journey northwards for which the pa.s.sport was already vised, when there met me a florid individual accompanied by two military officers. We stared at one another. His face was familiar to me, though I knew not where I had seen it. Then he introduced himself. He was a director of the Banca d'ltalia. And was I not the gentleman who had recently been to Orvinio? I remembered.