Tremendous Trifles Part 9

XXIX. Humanity: an Interlude

Except for some fine works of art, which seem to be there by accident, the City of Brussels is like a bad Paris, a Paris with everything n.o.ble cut out, and everything nasty left in. No one can understand Paris and its history who does not understand that its fierceness is the balance and justification of its frivolity. It is called a city of pleasure; but it may also very specially be called a city of pain. The crown of roses is also a crown of thorns. Its people are too p.r.o.ne to hurt others, but quite ready also to hurt themselves. They are martyrs for religion, they are martyrs for irreligion; they are even martyrs for immorality. For the indecency of many of their books and papers is not of the sort which charms and seduces, but of the sort that horrifies and hurts; they are torturing themselves. They lash their own patriotism into life with the same whips which most men use to lash foreigners to silence. The enemies of France can never give an account of her infamy or decay which does not seem insipid and even polite compared with the things which the Nationalists of France say about their own nation. They taunt and torment themselves; sometimes they even deliberately oppress themselves.

Thus, when the mob of Paris could make a Government to please itself, it made a sort of sublime tyranny to order itself about. The spirit is the same from the Crusades or St. Bartholomew to the apotheosis of Zola.

The old religionists tortured men physically for a moral truth. The new realists torture men morally for a physical truth.

Now Brussels is Paris without this constant purification of pain. Its indecencies are not regrettable incidents in an everlasting revolution.

It has none of the things which make good Frenchmen love Paris; it has only the things which make unspeakable Englishmen love it. It has the part which is cosmopolitan--and narrows; not the part which is Parisian--and universal. You can find there (as commonly happens in modern centres) the worst things of all nations--the DAILY MAIL from England, the cheap philosophies from Germany, the loose novels of France, and the drinks of America. But there is no English broad fun, no German kindly ceremony, no American exhilaration, and, above all, no French tradition of fighting for an idea. Though all the boulevards look like Parisian boulevards, though all the shops look like Parisian shops, you cannot look at them steadily for two minutes without feeling the full distance between, let us say, King Leopold and fighters like Clemenceau and Deroulede.

For all these reasons, and many more, when I had got into Brussels I began to make all necessary arrangements for getting out of it again; and I had impulsively got into a tram which seemed to be going out of the city. In this tram there were two men talking; one was a little man with a black French beard; the other was a baldish man with bushy whiskers, like the financial foreign count in a three-act farce. And about the time that we reached the suburb of the city, and the traffic grew thinner, and the noises more few, I began to hear what they were saying. Though they spoke French quickly, their words were fairly easy to follow, because they were all long words. Anybody can understand long words because they have in them all the lucidity of Latin.

The man with the black beard said: "It must that we have the Progress."

The man with the whiskers parried this smartly by saying: "It must also that we have the Consolidation International."

This is a sort of discussion which I like myself, so I listened with some care, and I think I picked up the thread of it. One of the Belgians was a Little Belgian, as we speak of a Little Englander. The other was a Belgian Imperialist, for though Belgium is not quite strong enough to be altogether a nation, she is quite strong enough to be an empire. Being a nation means standing up to your equals, whereas being an empire only means kicking your inferiors. The man with whiskers was the Imperialist, and he was saying: "The science, behold there the new guide of humanity."

And the man with the beard answered him: "It does not suffice to have progress in the science; one must have it also in the sentiment of the human justice."

This remark I applauded, as if at a public meeting, but they were much too keen on their argument to hear me. The views I have often heard in England, but never uttered so lucidly, and certainly never so fast.

Though Belgian by nation they must both have been essentially French.

Whiskers was great on education, which, it seems, is on the march.

All the world goes to make itself instructed. It must that the more instructed enlighten the less instructed. Eh, well then, the European must impose upon the savage the science and the light. Also (apparently) he must impose himself on the savage while he is about it. To-day one travelled quickly. The science had changed all. For our fathers, they were religious, and (what was worse) dead. To-day humanity had electricity to the hand; the machines came from triumphing; all the lines and limits of the globe effaced themselves. Soon there would not be but the great Empires and confederations, guided by the science, always the science.

Here Whiskers stopped an instant for breath; and the man with the sentiment for human justice had "la parole" off him in a flash. Without doubt Humanity was on the march, but towards the sentiments, the ideal, the methods moral and pacific. Humanity directed itself towards Humanity. For your wars and empires on behalf of civilisation, what were they in effect? The war, was it not itself an affair of the barbarism?

The Empires were they not things savage? The Humanity had pa.s.sed all that; she was now intellectual. Tolstoy had refined all human souls with the sentiments the most delicate and just. Man was become a spirit; the wings pushed....

At this important point of evolution the tram came to a jerky stoppage; and staring around I found, to my stunned consternation, that it was almost dark, that I was far away from Brussels, that I could not dream of getting back to dinner; in short, that through the clinging fascination of this great controversy on Humanity and its recent complete alteration by science or Tolstoy, I had landed myself Heaven knows where. I dropped hastily from the suburban tram and let it go on without me.

I was alone in the flat fields out of sight of the city. On one side of the road was one of those small, thin woods which are common in all countries, but of which, by a coincidence, the mystical painters of Flanders were very fond. The night was closing in with cloudy purple and grey; there was one ribbon of silver, the last rag of the sunset.

Through the wood went one little path, and somehow it suggested that it might lead to some sign of life--there was no other sign of life on the horizon. I went along it, and soon sank into a sort of dancing twilight of all those tiny trees. There is something subtle and bewildering about that sort of frail and fantastic wood. A forest of big trees seems like a bodily barrier; but somehow that mist of thin lines seems like a spiritual barrier. It is as if one were caught in a fairy cloud or could not pa.s.s a phantom. When I had well lost the last gleam of the high road a curious and definite feeling came upon me. Now I suddenly felt something much more practical and extraordinary--the absence of humanity: inhuman loneliness. Of course, there was nothing really lost in my state; but the mood may hit one anywhere. I wanted men--any men; and I felt our awful alliance over all the globe. And at last, when I had walked for what seemed a long time, I saw a light too near the earth to mean anything except the image of G.o.d.

I came out on a clear s.p.a.ce and a low, long cottage, the door of which was open, but was blocked by a big grey horse, who seemed to prefer to eat with his head inside the sitting-room. I got past him, and found he was being fed by a young man who was sitting down and drinking beer inside, and who saluted me with heavy rustic courtesy, but in a strange tongue. The room was full of staring faces like owls, and these I traced at length as belonging to about six small children. Their father was still working in the fields, but their mother rose when I entered. She smiled, but she and all the rest spoke some rude language, Flamand, I suppose; so that we had to be kind to each other by signs. She fetched me beer, and pointed out my way with her finger; and I drew a picture to please the children; and as it was a picture of two men hitting each other with swords, it pleased them very much. Then I gave a Belgian penny to each child, for as I said on chance in French, "It must be that we have the economic equality." But they had never heard of economic equality, while all Battersea workmen have heard of economic equality, though it is true that they haven't got it.

I found my way back to the city, and some time afterwards I actually saw in the street my two men talking, no doubt still saying, one that Science had changed all in Humanity, and the other that Humanity was now pushing the wings of the purely intellectual. But for me Humanity was hooked on to an accidental picture. I thought of a low and lonely house in the flats, behind a veil or film of slight trees, a man breaking the ground as men have broken from the first morning, and a huge grey horse champing his food within a foot of a child's head, as in the stable where Christ was born.

x.x.x. The Little Birds Who Won't Sing

On my last morning on the Flemish coast, when I knew that in a few hours I should be in England, my eye fell upon one of the details of Gothic carving of which Flanders is full. I do not know whether the thing is old, though it was certainly knocked about and indecipherable, but at least it was certainly in the style and tradition of the early Middle Ages. It seemed to represent men bending themselves (not to say twisting themselves) to certain primary employments. Some seemed to be sailors tugging at ropes; others, I think, were reaping; others were energetically pouring something into something else. This is entirely characteristic of the pictures and carvings of the early thirteenth century, perhaps the most purely vigorous time in all history. The great Greeks preferred to carve their G.o.ds and heroes doing nothing. Splendid and philosophic as their composure is there is always about it something that marks the master of many slaves. But if there was one thing the early mediaevals liked it was representing people doing something--hunting or hawking, or rowing boats, or treading grapes, or making shoes, or cooking something in a pot. "Quicquid agunt homines, votum, timor, ira voluptas." (I quote from memory.) The Middle Ages is full of that spirit in all its monuments and ma.n.u.scripts. Chaucer retains it in his jolly insistence on everybody's type of trade and toil. It was the earliest and youngest resurrection of Europe, the time when social order was strengthening, but had not yet become oppressive; the time when religious faiths were strong, but had not yet been exasperated. For this reason the whole effect of Greek and Gothic carving is different. The figures in the Elgin marbles, though often reining their steeds for an instant in the air, seem frozen for ever at that perfect instant. But a ma.s.s of mediaeval carving seems actually a sort of bustle or hubbub in stone. Sometimes one cannot help feeling that the groups actually move and mix, and the whole front of a great cathedral has the hum of a huge hive.

But about these particular figures there was a peculiarity of which I could not be sure. Those of them that had any heads had very curious heads, and it seemed to me that they had their mouths open. Whether or no this really meant anything or was an accident of nascent art I do not know; but in the course of wondering I recalled to my mind the fact that singing was connected with many of the tasks there suggested, that there were songs for reapers and songs for sailors hauling ropes. I was still thinking about this small problem when I walked along the pier at Ostend; and I heard some sailors uttering a measured shout as they laboured, and I remembered that sailors still sing in chorus while they work, and even sing different songs according to what part of their work they are doing. And a little while afterwards, when my sea journey was over, the sight of men working in the English fields reminded me again that there are still songs for harvest and for many agricultural routines. And I suddenly wondered why if this were so it should be quite unknown, for any modern trade to have a ritual poetry. How did people come to chant rude poems while pulling certain ropes or gathering certain fruit, and why did n.o.body do anything of the kind while producing any of the modern things? Why is a modern newspaper never printed by people singing in chorus? Why do shopmen seldom, if ever, sing?

If reapers sing while reaping, why should not auditors sing while auditing and bankers while banking? If there are songs for all the separate things that have to be done in a boat, why are there not songs for all the separate things that have to be done in a bank? As the train from Dover flew through the Kentish gardens, I tried to write a few songs suitable for commercial gentlemen. Thus, the work of bank clerks when casting up columns might begin with a thundering chorus in praise of Simple Addition.

"Up my lads and lift the ledgers, sleep and ease are o'er. Hear the Stars of Morning shouting: 'Two and Two are four.' Though the creeds and realms are reeling, though the sophists roar, Though we weep and p.a.w.n our watches, Two and Two are Four."

"There's a run upon the Bank--Stand away! For the Manager's a crank and the Secretary drank, and the

Upper Tooting Bank Turns to bay!

Stand close: there is a run On the Bank.

Of our ship, our royal one, let the ringing legend run, That she fired with every gun Ere she sank."

And as I came into the cloud of London I met a friend of mine who actually is in a bank, and submitted these suggestions in rhyme to him for use among his colleagues. But he was not very hopeful about the matter. It was not (he a.s.sured me) that he underrated the verses, or in any sense lamented their lack of polish. No; it was rather, he felt, an indefinable something in the very atmosphere of the society in which we live that makes it spiritually difficult to sing in banks. And I think he must be right; though the matter is very mysterious. I may observe here that I think there must be some mistake in the calculations of the Socialists. They put down all our distress, not to a moral tone, but to the chaos of private enterprise. Now, banks are private; but post-offices are Socialistic: therefore I naturally expected that the post-office would fall into the collectivist idea of a chorus. Judge of my surprise when the lady in my local post-office (whom I urged to sing) dismissed the idea with far more coldness than the bank clerk had done.

She seemed indeed, to be in a considerably greater state of depression than he. Should any one suppose that this was the effect of the verses themselves, it is only fair to say that the specimen verse of the Post-Office Hymn ran thus:

"O'er London our letters are shaken like snow, Our wires o'er the world like the thunderbolts go.

The news that may marry a maiden in Sark, Or kill an old lady in Finsbury Park."

Chorus (with a swing of joy and energy):

"Or kill an old lady in Finsbury Park."

And the more I thought about the matter the more painfully certain it seemed that the most important and typical modern things could not be done with a chorus. One could not, for instance, be a great financier and sing; because the essence of being a great financier is that you keep quiet. You could not even in many modern circles be a public man and sing; because in those circles the essence of being a public man is that you do nearly everything in private. n.o.body would imagine a chorus of money-lenders. Every one knows the story of the solicitors' corps of volunteers who, when the Colonel on the battlefield cried "Charge!" all said simultaneously, "Six-and-eightpence." Men can sing while charging in a military, but hardly in a legal sense. And at the end of my reflections I had really got no further than the sub-conscious feeling of my friend the bank-clerk--that there is something spiritually suffocating about our life; not about our laws merely, but about our life. Bank-clerks are without songs, not because they are poor, but because they are sad. Sailors are much poorer. As I pa.s.sed homewards I pa.s.sed a little tin building of some religious sort, which was shaken with shouting as a trumpet is torn with its own tongue. THEY were singing anyhow; and I had for an instant a fancy I had often had before: that with us the super-human is the only place where you can find the human. Human nature is hunted and has fled into sanctuary.

x.x.xI. The Riddle of the Ivy

More than a month ago, when I was leaving London for a holiday, a friend walked into my flat in Battersea and found me surrounded with half-packed luggage.

"You seem to be off on your travels," he said. "Where are you going?"

With a strap between my teeth I replied, "To Battersea."

"The wit of your remark," he said, "wholly escapes me."

"I am going to Battersea," I repeated, "to Battersea via Paris, Belfort, Heidelberg, and Frankfort. My remark contained no wit. It contained simply the truth. I am going to wander over the whole world until once more I find Battersea. Somewhere in the seas of sunset or of sunrise, somewhere in the ultimate archipelago of the earth, there is one little island which I wish to find: an island with low green hills and great white cliffs. Travellers tell me that it is called England (Scotch travellers tell me that it is called Britain), and there is a rumour that somewhere in the heart of it there is a beautiful place called Battersea."

"I suppose it is unnecessary to tell you," said my friend, with an air of intellectual comparison, "that this is Battersea?"

"It is quite unnecessary," I said, "and it is spiritually untrue. I cannot see any Battersea here; I cannot see any London or any England. I cannot see that door. I cannot see that chair: because a cloud of sleep and custom has come across my eyes. The only way to get back to them is to go somewhere else; and that is the real object of travel and the real pleasure of holidays. Do you suppose that I go to France in order to see France? Do you suppose that I go to Germany in order to see Germany?

I shall enjoy them both; but it is not them that I am seeking. I am seeking Battersea. The whole object of travel is not to set foot on foreign land; it is at last to set foot on one's own country as a foreign land. Now I warn you that this Gladstone bag is compact and heavy, and that if you utter that word 'paradox' I shall hurl it at your head. I did not make the world, and I did not make it paradoxical. It is not my fault, it is the truth, that the only way to go to England is to go away from it."