Essays by Alice Meynell Part 13

There is a certain year that is winged, as it were, against the flight of time; it does so move, and yet withstands time's movement. It is full of pauses that are due to the energy of change, has bounds and rebounds, and when it is most active then it is longest. It is not long with languor.

It has room for remoteness, and leisure for oblivion. It takes great excursions against time, and travels so as to enlarge its hours. This certain year is any one of the early years of fully conscious life, and therefore it is of all the dates. The child of Tumult has been living amply and changefully through such a year--his eighth. It is difficult to believe that his is a year of the self-same date as that of the adult, the men who do not breast their days.

For them is the inelastic, or but slightly elastic, movement of things.

Month matched with month shows a fairly equal length. Men and women never travel far from yesterday; nor is their morrow in a distant light.

There is recognition and familiarity between their seasons. But the Child of Tumult has infinite prospects in his year. Forgetfulness and surprise set his east and his west at immeasurable distance. His Lethe runs in the cheerful sun. You look on your own little adult year, and in imagination enlarge it, because you know it to be the contemporary of his. Even she who is quite old, if she have a vital fancy, may face a strange and great extent of a few years of her life still to come--his years, the years she is to live at his side.

Reason seems to be making good her rule in this little boy's life, not so much by slow degrees as by sudden and fitful accessions. His speech is yet so childish that he chooses, for a toy, with blushes of pleasure, "a little duck what can walk"; but with a beautifully clear accent he greets his mother with the colloquial question, "Well, darling, do you know the latest?" "The _what_?" "The latest: do you know the latest?" And then he tells his news, generally, it must be owned, with some reference to his own wrongs. On another occasion the unexpected little phrase was varied; the news of the war then raging distressed him; a thousand of the side he favoured had fallen. The child then came to his mother's room with the question: "Have you heard the saddest?" Moreover the "saddest"

caused him several fits of perfectly silent tears, which seized him during the day, on his walks or at other moments of recollection. From such great causes arise such little things! Some of his grief was for the nation he admired, and some was for the triumph of his brother, whose sympathies were on the other side, and who perhaps did not spare his sensibilities.

The tumults of a little child's pa.s.sions of anger and grief, growing fewer as he grows older, rather increase than lessen in their painfulness. There is a fuller consciousness of complete capitulation of all the childish powers to the overwhelming compulsion of anger. This is not temptation; the word is too weak for the a.s.sault of a child's pa.s.sion upon his will. That little will is taken captive entirely, and before the child was seven he knew that it was so. Such a consciousness leaves all babyhood behind and condemns the child to suffer. For a certain pa.s.sage of his life he is neither unconscious of evil, as he was, nor strong enough to resist it, as he will be. The time of the subsiding of the tumult is by no means the least pitiable of the phases of human life.

Happily the recovery from each trouble is ready and sure; so that the child who had been abandoned to naughtiness with all his will in an entire consent to the gloomy possession of his anger, and who had later undergone a haggard repentance, has his captivity suddenly turned again, "like rivers in the south." "Forget it," he had wept, in a kind of extremity of remorse; "forget it, darling, and don't, don't be sad;" and it is he, happily, who forgets. The wasted look of his pale face is effaced by the touch of a single cheerful thought, and five short minutes can restore the ruin, as though a broken little German town should in the twinkling of an eye be restored as no architect could restore it--should be made fresh, strong, and tight again, looking like a full box of toys, as a town was wont to look in the new days of old.

When his ruthless angers are not in possession the child shows the growth of this tardy reason that--quickened--is hereafter to do so much for his peace and dignity, by the sweetest consideration. Denied a second handful of strawberries, and seeing quite clearly that the denial was enforced reluctantly, he makes haste to reply, "It doesn't matter, darling." At any sudden noise in the house his beautiful voice, with all its little difficulties of p.r.o.nunciation, is heard with the sedulous rea.s.surance: "It's all right, mother, n.o.body hurted ourselves!" He is not surprised so as to forget this gentle little duty, which was never required of him, but is of his own devising.

According to the opinion of his dear and admired American friend, he says all these things, good and evil, with an English accent; and at the American play his English accent was irrepressible. "It's too comic; no, it's too comic," he called in his enjoyment; being the only perfectly fearless child in the world, he will not consent to the conventional shyness in public, whether he be the member of an audience or of a congregation, but makes himself perceptible. And even when he has a desperate thing to say, in the moment of absolute revolt--such a thing as "I _can't_ like you, mother," which anon he will recant with convulsions of distress--he has to "speak the thing he will," and when he recants it is not for fear.

If such a child could be ruled (or approximately ruled, for inquisitorial government could hardly be so much as attempted) by some small means adapted to his size and to his physical aspect, it would be well for his health, but that seems at times impossible. By no effort can his elders altogether succeed in keeping tragedy out of the life that is so unready for it. Against great emotions no one can defend him by any forethought.

He is their subject; and to see him thus devoted and thus wrung, thus wrecked by tempests inwardly, so that you feel grief has him actually by the heart, recalls the reluctance--the question--wherewith you perceive the interior grief of poetry or of a devout life. Cannot the Muse, cannot the Saint, you ask, live with something less than this? If this is the truer life, it seems hardly supportable. In like manner it should be possible for a child of seven to come through his childhood with griefs that should not so closely involve him, but should deal with the easier sentiments.

Despite all his simplicity, the child has (by way of inheritance, for he has never heard them) the self-excusing fictions of our race. Accused of certain acts of violence, and unable to rebut the charge with any effect, he flies to the old convention: "I didn't know what I was doing," he avers, using a great deal of gesticulation to express the temporary distraction of his mind. "Darling, after nurse slapped me as hard as she could, I didn't know what I was doing, so I suppose I pushed her with my foot." His mother knows as well as does Tolstoi that men and children know what they are doing, and are the more intently aware as the stress of feeling makes the moments more tense; and she will not admit a plea which her child might have learned from the undramatic authors he has never read.

Far from repenting of her old system of rewards, and far from taking fright at the name of a bribe, the mother of the Child of Tumult has only to wish she had at command rewards ample and varied enough to give the shock of hope and promise to the heart of the little boy, and change his pa.s.sion at its height.

THE UNREADY

It is rashly said that the senses of children are quick. They are, on the contrary, unwieldy in turning, unready in reporting, until advancing age teaches them agility. This is not lack of sensitiveness, but mere length of process. For instance, a child nearly newly born is cruelly startled by a sudden crash in the room--a child who has never learnt to fear, and is merely overcome by the shock of sound; nevertheless, that shock of sound does not reach the conscious hearing or the nerves but after some moments, nor before some moments more is the sense of the shock expressed. The sound travels to the remoteness and seclusion of the child's consciousness, as the roar of a gun travels to listeners half a mile away.

So it is, too, with pain, which has learnt to be so instant and eager with us of later age that no point of time is lost in its touches--direct as the unintercepted message of great and candid eyes, unhampered by trivialities; even so immediate is the communication of pain. But you could count five between the p.r.i.c.k of a surgeon's instrument upon a baby's arm and the little whimper that answers it. The child is then too young, also, to refer the feeling of pain to the arm that suffers it.

Even when pain has groped its way to his mind it hardly seems to bring local tidings thither. The baby does not turn his eyes in any degree towards his arm or towards the side that is so vexed with vaccination. He looks in any other direction at haphazard, and cries at random.

See, too, how slowly the unpractised apprehension of an older child trudges after the nimbleness of a conjurer. It is the greatest failure to take these little _gobe-mouches_ to a good conjurer. His successes leave them cold, for they had not yet understood what it was the good man meant to surprise them withal. The amateur it is who really astonishes them. They cannot come up even with your amateur beginner, performing at close quarters; whereas the master of his craft on a platform runs quite away at the outset from the lagging senses of his honest audience.

You may rob a child of his dearest plate at table, almost from under his ingenuous eyes, send him off in chase of it, and have it in its place and off again ten times before the little breathless boy has begun to perceive in what direction his sweets have been s.n.a.t.c.hed.

Teachers of young children should therefore teach themselves a habit of awaiting, should surround themselves with pauses of patience. The simple little processes of logic that arrange the grammar of a common sentence are too quick for these young blunderers, who cannot use two p.r.o.nouns but they must confuse them. I never found that a young child--one of something under nine years--was able to say, "I send them my love" at the first attempt. It will be "I send me my love," "I send them their love,"

"They send me my love"; not, of course, through any confusion of understanding, but because of the tardy setting of words in order with the thoughts. The child visibly grapples with the difficulty, and is beaten.

It is no doubt this unreadiness that causes little children to like twice- told tales and foregone conclusions in their games. They are not eager, for a year or two yet to come, for surprises. If you hide and they cannot see you hiding, their joy in finding you is comparatively small; but let them know perfectly well what cupboard you are in, and they will find you with shouts of discovery. The better the hiding-place is understood between you the more lively the drama. They make a convention of art for their play. The younger the children the more dramatic; and when the house is filled with outcries of laughter from the breathless breast of a child, it is that he is pretending to be surprised at finding his mother where he bade her pretend to hide. This is the comedy that never tires. Let the elder who cannot understand its charm beware how he tries to put a more intelligible form of delight in the place of it; for, if not, he will find that children also have a manner of subst.i.tution, and that they will put half-hearted laughter in the place of their natural impetuous clamours. It is certain that very young children like to play upon their own imaginations, and enjoy their own short game.

There is something so purely childlike in the delays of a child that any exercise asking for the swift apprehension of later life, for the flashes of understanding and action, from the mind and members of childhood, is no pleasure to see. The piano, for instance, as experts understand it, and even as the moderately-trained may play it, claims all the immediate action, the instantaneousness, most unnatural to childhood. There may possibly be feats of skill to which young children could be trained without this specific violence directed upon the thing characteristic of their age--their unreadiness--but virtuosity at the piano cannot be one of them. It is no delight, indeed, to see the shyness of children, or anything that is theirs, conquered and beaten; but their poor little slowness is so distinctively their own, and must needs be physiologically so proper to their years, so much a natural condition of the age of their brain, that of all childishnesses it is the one that the world should have the patience to attend upon, the humanity to foster, and the intelligence to understand.

It is true that the movements of young children are quick, but a very little attention would prove how many apparent disconnexions there are between the lively motion and the first impulse; it is not the brain that is quick. If, on a voyage in s.p.a.ce, electricity takes thus much time, and light thus much, and sound thus much, there is one little jogging traveller that would arrive after the others had forgotten their journey, and this is the perception of a child. Surely our own memories might serve to remind us how in our childhood we inevitably missed the princ.i.p.al point in any procession or pageant intended by our elders to furnish us with a historical remembrance for the future. It was not our mere vagueness of understanding, it was the unwieldiness of our senses, of our reply to the suddenness of the grown up. We lived through the important moments of the pa.s.sing of an Emperor at a different rate from theirs; we stared long in the wake of his Majesty, and of anything else of interest; every flash of movement, that got telegraphic answers from our parents' eyes, left us stragglers. We fell out of all ranks. Among the sights proposed for our instruction, that which befitted us best was an eclipse of the moon, done at leisure. In good time we found the moon in the sky, in good time the eclipse set in and made reasonable progress; we kept up with everything.

It is too often required of children that they should adjust themselves to the world, practised and alert. But it would be more to the purpose that the world should adjust itself to children in all its dealings with them. Those who run and keep together have to run at the pace of the tardiest. But we are apt to command instant obedience, stripped of the little pauses that a child, while very young, cannot act without. It is not a child of ten or twelve that needs them so; it is the young creature who has but lately ceased to be a baby, slow to be startled.

We have but to consider all that it implies of the loitering of senses and of an unprepared consciousness--this capacity for receiving a great shock from a noise and this perception of the shock after two or three appreciable moments--if we would know anything of the moments of a baby

Even as we must learn that our time, when it is long, is too long for children, so must we learn that our time, when it is short, is too short for them. When it is exceedingly short they cannot, without an unnatural effort, have any perception of it. When children do not see the jokes of the elderly, and disappoint expectation in other ways, only less intimate, the reason is almost always there. The child cannot turn in mid-career; he goes fast, but the impetus took place moments ago.

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 favourable, 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.

Ah! the word "hopeful" seems, to us, in this day, a word too flattering to the estate of man. They thought their little boy strangely hopeful because he was so quick on his way to be something else. They lost the timely perfection the while they were so intent upon their hopes. And yet it is our own modern age that is charged with haste!

It would seem rather as though the world, whatever it shall unlearn, must rightly learn to confess the pa.s.sing and irrevocable hour; not slighting it, or bidding it hasten its work, not yet hailing it, with Faust, "Stay, thou art so fair!" Childhood is but change made gay and visible, and the world has lately been converted to change.

Our fathers valued change for the sake of its results; we value it in the act. To us the change is revealed as perpetual; every pa.s.sage is a goal, and every goal a pa.s.sage. The hours are equal; but some of them wear apparent wings.

_Tout pa.s.se_. Is the fruit for the flower, or the flower for the fruit, or the fruit for the seeds which it is formed to shelter and contain? It seems as though our forefathers had answered this question most arbitrarily as to the life of man.

All their literature dealing with children is bent upon this haste, this suppression of the approach to what seemed then the only time of fulfilment. The way was without rest to them. And this because they had the illusion of a rest to be gained at some later point of this unpausing life.

Evelyn and his contemporaries dropped the very word child as soon as might be, if not sooner. When a poor little boy came to be eight years old they called him a youth. The diarist himself had no cause to be proud of his own early years, for he was so far indulged in idleness by an "honoured grandmother" that he was "not initiated into any rudiments"

till he was four years of age. He seems even to have been a youth of eight before Latin was seriously begun; but this fact he is evidently, in after years, with a total lack of a sense of humour, rather ashamed of, and hardly acknowledges. It is difficult to imagine what childhood must have been when n.o.body, looking on, saw any fun in it; when everything that was proper to five years old was defect. A strange good conceit of themselves and of their own ages had those fathers.

They took their children seriously, without relief. Evelyn has nothing to say about his little ones that has a sign of a smile in it. Twice are children not his own mentioned in his diary. Once he goes to the wedding of a maid of five years old--a curious thing, but not, evidently, an occasion of sensibility. Another time he stands by, in a French hospital, while a youth of less than nine years of age undergoes a frightful surgical operation "with extraordinary patience." "The use I made of it was to give Almighty G.o.d hearty thanks that I had not been subject to this deplorable infirmitie." This is what he says.

See, moreover, how the fashion of hurrying childhood prevailed in literature, and how it abolished little girls. It may be that there were in all ages--even those--certain few boys who insisted upon being children; whereas the girls were docile to the adult ideal. Art, for example, had no little girls. There was always Cupid, and there were the prosperous urchin-angels of the painters; the one who is hauling up his little brother by the hand in the "Last Communion of St. Jerome" might be called Tommy. But there were no "little radiant girls." Now and then an "Education of the Virgin" is the exception, and then it is always a matter of sewing and reading. As for the little girl saints, even when they were so young that their hands, like those of St. Agnes, slipped through their fetters, they are always recorded as refusing importunate suitors, which seems necessary to make them interesting to the mediaeval mind, but mars them for ours.

So does the hurrying and ignoring of little-girl-childhood somewhat hamper the delight with which readers of John Evelyn admire his most admirable Mrs. G.o.dolphin. She was Maid of Honour to the Queen in the Court of Charles II. She was, as he prettily says, an Arethusa "who pa.s.sed through all those turbulent waters without so much as the least stain or tincture in her christall." She held her state with men and maids for her servants, guided herself by most exact rules, such as that of never speaking to the King, gave an excellent example and instruction to the other maids of honour, was "severely careful how she might give the least countenance to that liberty which the gallants there did usually a.s.sume," refused the addresses of the "greatest persons," and was as famous for her beauty as for her wit. One would like to forget the age at which she did these things. When she began her service she was eleven. When she was making her rule never to speak to the King she was not thirteen.

Marriage was the business of daughters of fourteen and fifteen, and heroines, therefore, were of those ages. The poets turned April into May, and seemed to think that they lent a grace to the year if they shortened and abridged the spring of their many songs. The particular year they sang of was to be a particularly fine year, as who should say a fine child and forward, with congruous syntax at two years old, and ellipses, figures, and tropes. Even as late as Keats a poet would not have patience with the process of the seasons, but boasted of untimely flowers. The "musk-rose" is never in fact the child of mid-May, as he has it.

The young women of Addison are nearly fourteen years old. His fear of losing the idea of the bloom of their youth makes him so tamper with the bloom of their childhood. The young heiress of seventeen in the "Spectator" has looked upon herself as marriageable "for the last six years." The famous letter describing the figure, the dance, the wit, the stockings of the charming Mr. Shapely is supposed to be written by a girl of thirteen, "willing to settle in the world as soon as she can." She adds, "I have a good portion which they cannot hinder me of." This correspondent is one of "the women who seldom ask advice before they have bought their wedding clothes." There was no sense of childhood in an age that could think this an opportune pleasantry.

But impatience of the way and the wayfaring was to disappear from a later century--an age that has found all things to be on a journey, and all things complete in their day because it is their day, and has its appointed end. It is the tardy conviction of this, rather than a sentiment ready made, that has caused the childhood of children to seem, at last, something else than a defect.