Escape, and Other Essays Part 9

Neither have boys of different ages much to do with each other; each house is divided by parallel lines of cleavage, so that it is not a weltering ma.s.s of boyhood, but a collection of very clearly defined groups and circles.

Moreover, in my own time there was no building at Eton which could hold the whole school, so that on no occasion did I ever see the school a.s.sembled. There were two chapels, the schoolrooms were considerably scattered; even on the occasions when the headmaster made a speech to the school, he did not even invite the lower boys to attend, while there was no compulsion on the upper boys to be present, so that it was not necessary to go, unless one thought it likely to be amusing.

I was myself on the foundation, one of the seventy King's Scholars, as we were called; we lived in the old buildings; we dined together in the college hall, a stately Gothic place, over four centuries old, with a timbered roof, open fireplaces, and portraits of notable Etonians. We wore cloth gowns in public, and surplices in the chapel. It was all very grand and dignified, but we were in those days badly fed, and very little looked after. There were many ancient and curious customs, which one picked up naturally, and never thought them either old or curious. For instance, when I first went there, the small boys, three at a time, waited on the sixth form at their dinner, being called servitors, handing plates, pouring out beer, or holding back the long sleeves of the big boys'

gowns, as they carved for themselves at the end of the table. This was abolished shortly after my arrival as being degrading. But it never occurred to us that it was anything but amusing; we had the fun of watching the great men at their meal, and hearing them gossip. I remember well being kindly but firmly told by the present Dean of Westminster, then in sixth form, that I must make my appearance for the future with cleaner hands and better brushed hair!

We were kindly and paternally treated by the older boys; I was a.s.signed as a f.a.g to Reginald Smith, now my publisher. I had to fill and empty his bath for him, make his tea and toast, call him in the morning, and run errands. In return for which I was allowed to do my work peacefully in his room, in the evenings, when the f.a.gs' quarters were noisy, and if I had difficulties about my work, he was always ready to help me. So normal a thing was it, that I remember saying indignantly to my tutor, when he marked a false quant.i.ty in one of my verses, "Why, sir, my f.a.gmaster did that!" He laughed, and said, "Take my compliments to your f.a.gmaster, and tell him that the first syllable of senator is short!"

We lived as lower boys in a big room with cubicles, which ab.u.t.ted on the pa.s.sage where the sixth form rooms were. It was a noisy place, with its great open fireplace and huge oak table. If the noise was excessive, the sixth form intervened; and I remember being very gently caned, in the company of the present Dean of St.

Paul's, for making a small bonfire of old blotting-paper, which filled the place with smoke.

The liberty, after the private school, was astonishing. We had to appear in school at certain hours, not very numerous; and some extra work was done with the private tutor; but there was no supervision, and we were supposed to prepare our work and do our exercises, when and as we could. There were a few compulsory games, but otherwise we were allowed to do exactly as we liked. The side streets of Windsor were out of bounds, but we were allowed to go up the High Street; we had free access to the castle and park and all the surrounding country. On half holidays--three a week--our names were called over; but it left one with a three-hour s.p.a.ce in the afternoon, when we could go exactly where we would. The saints'

days and certain anniversaries were whole holidays, and we were free from morning to night. Then there was a delightful room, the old school library, now destroyed, where we could go and read; and many an hour did I spend there looking vaguely into endless books.

I well remember seeing the present Lord Curzon and one of the Wallops standing by the fireplace there, and discussing some political question, and how amazed I was at the profundity of their knowledge and the dignity of their language.

But in many ways it was a very isolated life; for a long time I hardly knew any boys, except just the dozen or so who entered the place with me. I knew no boys at other houses, except a few in my school division, and never did more than exchange a few words with them. One never thought of speaking to a casual boy, unless one knew him; and there are many men whom I have since known well who were in the school with me, and with whom I never exchanged a syllable.

Though there was a master in college, who read evening prayers, gave leaves and allowances, and was consulted on matters of business, he had practically nothing to do with the discipline.

That was all in the hands of the sixth form, who kept order, put up notices, and were allowed not only to cane but to set lines. No one ever thought of appealing to the master against them, and their powers were never abused. But there was very little overt discipline anywhere. The masters could not inflict corporal punishment. They could set punishments, and for misbehaviour, or continued idleness, they could send a boy to the headmaster to be flogged. But the discipline of the place was instinctive, and public opinion was infinitely strong. One found out by the light of nature what one might do and what one might not, and the dread of being in any way unusual or eccentric was very potent. There were two or three very ill-governed houses, where things went very wrong indeed behind the scenes; but as far as public order went, it was perfect. The boys managed their own games and their own affairs; a strong sense of subordination penetrated the whole place, and the old Eton aphorism, that a boy learned to know his place and to keep it, held good without any sense of coercion or constraint.

I do not think that the educational system was a good one. In my days there was little taught besides cla.s.sics and mathematics and divinity. There was a little French and science and history; but the core of the whole thing was undiluted cla.s.sics. We did a good deal of composition, Greek and Latin, and the Latin verses were exercises out of which I got much real enjoyment, and some of the pride of authorship. But it was possible to be very idle, and to get much contraband help in work from other boys. Most of the school work consisted of repet.i.tion, and of cla.s.sical books, dully and leisurely construed. I do not think I ever attempted to attend to the work in school; and there were few stimulating teachers. I needed strict and careful teaching, and got some from my private tutor; but otherwise there was no individual attention. The net result was that a few able boys turned out very good scholars, saturated with cla.s.sics; but a large number of boys were really not educated at all. The forms were too large for real supervision; and as long as one produced adequate exercises, and sat quiet in one's corner, one was left genially alone. It was not fashionable to "sap," as it was called; and though a few ambitious boys worked hard, we most of us lived in a happy-go-lucky way, just doing enough to pa.s.s muster. I took not the faintest interest in my work for a long time; but I read a great many English books, wrote poetry in secret, picked up a vague acquaintance, of a very inaccurate kind, with Latin and Greek, but possessed no exact knowledge of any sort.

Gradually, as I rose in the school, a faint idea of social values shaped itself. Let me say frankly that we were wholly democratic.

There were many wealthy boys, many with t.i.tles; but not the faintest interest was taken in either. I was surprised to find later on in my career at school, that boys whose names I had known by hearsay were peers, though at first I had no idea what the peerage was. Whatever we were free from, we were at all events free from sn.o.bbishness. Athletics were what const.i.tuted our aristocracy, pure and simple. Boys in the eleven and the eight were the heroes of the place, and the school club called Pop, to which mainly athletes were elected, enjoyed an absolute supremacy, and indeed ran the out-of-doors discipline of the school. In fact, on occasions like big matches, the boys were kept back behind the lines, by members of Pop parading with canes, and slashing at the crowd if they came past the boundaries. All the social standing of boys was settled entirely by athletics. A boy might be clever, agreeable, manly, a good game-shot, or a rider to hounds in the holidays, but if he was no good at the prescribed games, he was n.o.body at all at Eton. It was wholesome in a sense; but a bad boy who was a good athlete might and did wield a very evil influence.

Such boys were above criticism. The moral tone was not low so much as strangely indifferent. A boy's private life was his own affair, and public opinion exercised no particular moral sway. Yet vague and guileless as I myself was, I gratefully record that I never came in the way of any evil influence whatever at Eton, in any respect whatever. Talk was rather loose, and one believed evil of other boys easily enough. To express open disapproval would have been held to be priggish; and though undoubtedly the tone of certain houses and certain groups was far from good, there yet ran through the place a mature sense of a boy's right to be independent, and undesirable ways of life were more a matter of choice than of coercion. It was, in fact, far more a mirror of the larger world than any other school I have ever heard of; and I know of no school story which gives any impression of a life so curiously free as it all was. There was none of that electrical circulation of the news of events and incident that is held to be characteristic of school life. One used to hear long after or not at all, of things which had happened. There were rumours, there was gossip; but I cannot imagine any place where a boy of solitary or retiring character might be so entirely unaware of anything that was going on. It was a highly individualistic place; and if one conformed to superficial traditions, it was possible to lead, as I certainly did, a very quiet and secluded sort of life, reading, rambling about, talking endlessly and eagerly to a few chosen friends, quite unconscious that anything was being done for one, socially or educationally, entirely unmolested, as long as one was good-natured and easy-going.

It was therefore a good school for a boy with any toughness of mind or originality; but it tended in the case of normal and unreflective boys to develop a conventional type; good-mannered, sensible, with plenty of savoir faire, but with a wrong set of values. It made boys over-estimate athletics, despise intellectual things, worship social success. It gave them the wrong sort of tolerance, by which I mean the tolerance that excuses moral lapses, but that also thinks contemptuously of ideas and mental originality. The idols of the place were good-humoured, modest, orderly athletes. The masters made friends with them because a good mutual understanding conduced to discipline, and they were, moreover, pleasant and cheerful companions. But boys of character and force, unless they were also athletic, were apt to be overlooked. The theory of government was not to interfere, and there was an absence of enthusiasm and inspiration. The headmaster was Dr. Hornby, afterwards provost, a courteous, handsome, dignified gentleman, a fine preacher, and one of the most charming public speakers I have ever heard. We respected and admired him, but he knew little of his masters, and never made his personal influence, which might have been great, felt among the boys. He was a man of matchless modesty and refinement; he never fulminated or lectured; I never heard an irritable word fall from his lips; but on the other hand he never appealed to us, or asked our help, or spoke eagerly or indignantly about any event or tendency. He hated evil, but closed his eyes to it, and preferred to think that it was not there. There were masters who in their own houses and forms displayed more vivid qualities; but the whole tone of the place was against anything emotional or pa.s.sionate or uplifting; the ideal that soaked into the mind was one of temperate, orderly, well- mannered athleticism.

At the end of my time I rose to moderate distinction. I began to read the cla.s.sics privately, I reached sixth form, and even was elected into Pop. But I was always unadventurous, and in a way timid. I nurtured a private life of my own on books and talk, and felt that the centre of life had insensibly shifted from home to school. But in and through it all, I never gained any deep patriotism, any unselfish ambition, any visions which could have inspired me to play a n.o.ble part in the world. I am sure that was as much the result of my own temperament as of the spirit of the place; but the spirit of the place was potent, and taught me to acquiesce in an ideal of decorum, of subordination, of regular, courteous, unenthusiastic life.

Leaving the school was a melancholy business; one's roots were entwined very deep with the soil, the buildings, the memories, the happiness of the place--for happy above all things it was--in the last few weeks there were many strange emotional outbursts from boys who had seemed conventional enough; and there was a dreary sense that life was at an end, and would have little of future brightness or excitement to provide. I packed, I made my farewells, I distributed presents; and as I drove away, the carriage, ascending the bridge by the beloved playing-fields, with its lawns and elms, the gliding river and the castle towering up behind, showed me in a glance the old red-brick walls, the turrets, the high chapel, with its pinnacles and great b.u.t.tresses, where seven good years had been spent. I burst, I remember, into unashamed tears; but no sense of regret for failure, or idleness, or vacuous case, or absence of all fine intention, came over me, though I had been guilty of all these things. I wish that I had felt remorse!

But I was only grateful and fond and sad at leaving so untroubled and delightful a piece of life behind me. The world ahead did not seem to me to hold out anything which I burned to do or to achieve; it was but the closing of a door, the end of a chapter, the sudden silencing of a music, sweet to hear, which could not come again.

That was all five-and-thirty years ago! Since that time--I have seen it unmistakably, both as a schoolmaster and as a don--a different spirit has grown up, a sense of corporate and social duty, a larger idea of national service, not loudly advertised but deeply rooted, and far removed from the undisciplined individualism of my boyhood. It has been a secret growth, not an educational programme. The Boer War, I think, revealed its presence, and the war we are now waging has testified to its mature strength. It has come partly by organisation, and still more through the workings of a more generous and self-sacrificing ideal. In any case it is a great and n.o.ble harvest; and I rejoice with all my heart that it has thus ripened and borne fruit, in courage and disinterestedness, and high-hearted public spirit.

XIII

AUTHORSHIP

1

The essay which stands next in this volume, "Herb Moly and Heartsease," was the subject of a curious and interesting experiment. It seemed to me, when I first thought of it, to be a suggestive subject, a substantial idea. One ought not to write a commentary on one's own work, but the underlying theme is this: I have been haunted all my life, at intervals, sometimes very insistently, by the sense of a quest; and I have often seemed to myself to be searching for something which I have somehow lost; to be engaged in trying to rediscover some emotion or thought which I had once certainly possessed and as certainly have forgotten or mislaid. At times I felt on the track of it, as if it had pa.s.sed that way not long before; at times I have felt as if I were close upon it, and as if it were only hidden from me by the thinnest of veils. I have reason to know that other people have the same feeling; and, indeed, it is that which const.i.tutes the singular and moving charm of Newman's poem, "Lead, kindly Light," where all is summed up in those exquisite lines, often so strangely misinterpreted and misunderstood, which end the poem:

"And with the morn those angel faces smile, Which I have loved long since, and lost awhile."

I wish that he had not written "those angel faces," because it seems to limit the quest to ecclesiastical lines, as, indeed, I expect Newman did limit it. But we must not be so blind as to be unable to see behind the texture of prepossessions that decorate, as with a tapestry, the chambers of a man's inner thought; and I have no doubt whatever that Newman meant the same thing that I mean, though he used different symbols. Again, we find the same idea in Wordsworth's "Ode on the Intimations of Immortality," the thought that life is not circ.u.mscribed by birth and death, but that one's experience is a much larger and older thing than the experience which mere memory records. It is that which one has lost; and one of the greatest mysteries of art lies in the fact that a picture, or a sudden music, or a page in a book, will sometimes startle one into the consciousness of having heard, seen, known, felt the emotion before, elsewhere, beyond the visible horizon.

Well, I tried to put that idea into words in "Herb Moly and Heartsease"; and because it was a deep and dim idea, and also partly because it fascinated me greatly, I spent far more time and trouble on the little piece than I generally spend.

Then it occurred to me, in a whimsical moment, that I would try an experiment. I would send out the thing as a ballon d'essai, to see if anyone would read it for itself, or would detect me underneath the disguise. Through the kind offices of a friend, I had it published secretly and anonymously. I chose the most beautiful type and paper I could find; it cost me far more than the sale of the whole edition could possibly recoup. I had it sent to papers for review, and I even had some copies sent to literary friends of my own.

The result was a quite enchanting humiliation. One paper reviewed it kindly, in a little paragraph, and said it was useful; another said that the writer used the word "one" much too frequently; while only one of my friends even acknowledged it. It is pleasant to begin at the bottom again, and find that no one will listen, even to a very careful bit of writing by one who has at all events had a good deal of practice, and who did his very best!

2

This set me thinking over my literary adventures, and I think they may be interesting to other authors or would-be authors; and then I wish to go a little further, and try to say, if I can, what I believe the writing of books really to be, why one writes, and what one is aiming at. I have a very clear idea about it all, and it can do no harm to state it.

I was brought up much among books and talk about books. Indeed, I have always believed that my father, though he had great practical gifts of organisation and administration, which came out in his work as a schoolmaster and a bishop, was very much of an artist at heart, and would have liked to be a poet. Indeed, the practice of authorship has run in my family to a quite extraordinary degree. In four generations, I believe that some twenty of my blood-relations have written and published books, from my cousin Adelaide Anne Procter to my uncle Henry Sidgwick. When we were children we produced little magazines of prose and poetry, and read them in the family circle. I wrote poetry as a boy at Eton, and at Cambridge as an undergraduate; and at the end of my time at Cambridge I produced a novel, which I sent to Macmillan's Magazine, of which Lord Morley was then editor, who sent it back to me with a kind letter to say that it was sauce without meat, and that I should not be proud of the book in later life if it were published.

Then as an undergraduate I began an odd little book called Memoirs of Arthur Hamilton, a morbid affair, which was published anonymously, and, though severely handled by reviewers, had a certain measure of success. But then I became a busy schoolmaster, and all I did was to write laboured little essays, which appeared in various magazines, and were afterwards collected. Then I took up poetry, and worked very hard at it indeed for some years, producing five volumes, which very few people ever read. It was a great delight, writing poetry, and I have ma.s.ses of unpublished poems.

But I do not grudge the time spent on it, because I think it taught me the use of words. Then came two volumes of stories, mostly told or read to the boys in my house, with a medieval sort of flavour-- The Hill of Trouble and The Isles of Sunset.

I also put together a little book on Tennyson, which has, I believe, the merit of containing all the most interesting anecdotes about him, and I also wrote the Rossetti in the Men of Letters Series, a painstaking book, rather rhetorical; though the truth about Rossetti cannot be told, even if it could be known.

All this work was done in the middle of hard professional work, with a boarding-house and many pupils. I will dare to say that I was an active and diligent schoolmaster, and writing was only a recreation. I could only get a few hours a week at it, and it never interfered with my main work.

My father died in 1896, and I wrote his life in two big volumes, a very solid piece of work; but it was after that, I think, that my real writing began. I believe it was in 1899 that I slowly composed The House of Quiet, but I could not satisfy myself about the ending, and it was laid aside.

Then I was offered the task of editing Queen Victoria's letters. I resigned my mastership with a mixture of sorrow and relief. The work was interesting and absorbing, but I did not like our system of education, nor did I believe in it. But I put my beliefs into a little book called The Schoolmaster, which made its way.

I left my work as a teacher in 1903, when I was forty-one. The House of Quiet appeared in that year anonymously, and began to sell. I lived on at Eton with an old friend; went daily up to Windsor Castle, and toiled through volumes of papers. But I found that it was not possible to work more than a few hours a day at the task of selection, because one's judgment got fatigued and blurred.

The sudden cessation of heavy professional work made itself felt in an extreme zest and lightness of spirit. It was a very happy and delightful time. I was living among friends who were all very hard at work, and the very contrast of my freedom with their servitude was enlivening. I was able, too, to think over my schoolmastering experience; and the result was The Upton Letters, an inconsequent but I think lively book, also published anonymously and rather disregarded by reviewers. But the book was talked about and read; and for the next year or two I worked with indefatigable zest at writing. I brought out monographs on Edward FitzGerald and Walter Pater; I wrote The Thread of Gold, which also succeeded; and in the next year I settled at Cambridge, and wrote From a College Window as a serial in the Cornhill, and The Gate of Death, both anonymously; and in the following year Beside Still Waters and The Altar Fire. All this time the Queen's letters were going quietly on in the background.

I have written half-a-dozen books since then. But that is how I began my work; and the one point which is worth noticing is that the four books which have sold most widely, The House of Quiet, The Upton Letters, The Thread of Gold, and the College Window, were all of them issued anonymously, and the authorship was for a considerable time undetected. So that it is fair to conclude that the public is on the look-out for books which interest it, and will find out what it wants; because none of those books owed anything whatever to my parentage or my position or my friends--or indeed to the reviewers either; and it proves the truth of what a publisher said to me the other day, that neither reviews nor advertis.e.m.e.nts will really do much for a book; but that if readers begin to talk about a book and to recommend it, it is apt to go ahead. And, further, I conclude from the fact that none of my subsequent books have been as popular as these, though I have no cause to complain, that a new voice and new ideas are what prove attractive--and perhaps not so much new ideas as familiar ideas which have not been clearly expressed and put into words. There was a little mystery about the writer then, and there is no mystery now; everyone knows exactly what to expect; and the new generation wants a fresh voice and a different way of putting things.

3

As to the motive force, whatever it may be, that lies behind writing, we may disengage from it all subsidiary motives, such as the desire for money, philanthropy, professional occupation; but the main force is, I think, threefold--the motive of art pure and simple, the desire for communication with one's fellows, and the motive of ambition, which may almost be called the desire for applause.

The ultimate instinct of art is the expression of the sense of beauty. A scene, or a character, or an idea, or an emotion, strikes the mind as being salient, beautiful, strange, wonderful, and the mind desires to record it, to depict it, to isolate it, to emphasize it. The process becomes gradually, as the life of the world continues, more and more complex. It seemed enough at first just to record; but then there follows the desire to contrast, to heighten effects, to construct elaborate backgrounds; then the process grows still more refined, and it becomes essential to lay out materials in due proportion, and to clear away all that is otiose or confusing, so that the central idea, whatever it is, shall stand out in absolute clarity and distinctness. Gradually a great deal of art becomes traditional and conventional; certain forms stereotype themselves, and it becomes more and more difficult to invent a new form of any kind. When art is very much bound by tradition, it becomes what is called cla.s.sical, and makes its appeal to a cultured circle; and then there is a revolutionary outburst of what is called a romantic type, which means on the one hand a weariness of the old traditions and longing for freedom, and on the other hand a corresponding desire, on the part of an extended and less cultured circle, for art of a more elastic kind.

Literature has this cyclic ebb and flow; but what is romantic in one age tends to become cla.s.sical in the next, as the new departure becomes in its turn traditional. These variations are no doubt the result of definite, psychological laws, at present little understood. The renaissance of a nation, when from some unascertained cause there is a fresh outburst of interest in ideas, is quite unaccounted for by logical or mathematical laws of development. The French Revolution and the corresponding romantic revival in England are instances of this. A writer like Rousseau does not germinate interest in social and emotional ideas, but merely puts into attractive form a number of ideas vaguely floating in numberless minds. A writer like Scott indicates a sudden repulsion in many minds against a cla.s.sical tradition grown sterile, and a widespread desire to extract romantic emotions from a forgotten medieval life. Of course a romantic writer like Scott read into the Middle Ages a number of emotions which were not historically there; and the romantic writer, generally speaking, tends to treat of life in its more sublime and glowing moments, and to ama.s.s brilliant experience and absorbing emotion in an unscientific way. Just now we are beginning to revolt against this over-emotionalised treatment of life, and realism is a deliberate attempt to present life as it is--not to improve upon it or to select it, but to give an impression of its complexity as well as of its bleakness. The romanticist typifies and stereotypes character, the realist recognises the inconsistency and the changeableness of personality. The romanticist presents qualities and moods personified, the realist depicts the flux and variableness of mood, and the effects exerted by characters upon each other. But the motive is ultimately the same, only the romanticist is interested in the pa.s.sion and inspiration of life, the realist more in the facts and actual stuff of life. But in both cases the motive is the same: to depict and to record a personal impression of what seems wonderful and strange.