Wings and the Child; Or, The Building of Magic Cities Part 2

In the same way I take it that a constant succession of new clothes is irritating and unsettling, especially to women. It fritters away the attention and exacerbates their natural frivolity. In other days when clothes were expensive, women bought few clothes, but those clothes were meant to last, and they did last. A silk dress often outlived the natural life of its first wearer. The knowledge that the question of dress will not be one to be almost weekly settled tends to calm the nerves and consolidate the character. Clothes are very cheap now--therefore women buy many new dresses, and throw the shoddy things away when, as they soon do, they grow shabby. Men are far more sensible. Every man knows the appeal of an old coat. So long as women are insensible to the appeal of an old gown, they need never hope to be considered, in stability of character, the equals of men.

The pa.s.sion for ornaments--not ornament--is another of the unsettling factors in an unsettling age. The very existence of the "fancy shop" is not only a menace to, but an attack on the quiet dignity in the home.

The hundreds of ugly, twisted, bizarre fancy articles which replace the old few serious "ornaments" are all so many tokens of the spirit of unrest which is born of, and in turn bears, our modern civilisation.

It is not, alas! presently possible for us as a nation to return to that calmer, more dignified state when the lives of men were rooted in their individual possessions, possessions adorned with memories of the past and cherished as legacies to the future. But I wish I could persuade women to buy good gowns and grow fond of them, to buy good chairs and tables, and to refrain from the orgy of the fancy shop. So much of life, of thought, of energy, of temper is taken up with the continual change of dress, house, furniture, ornaments, such a constant twittering of nerves goes on about all these things which do not matter. And the children, seeing their mother's gnat-like restlessness, themselves, in turn, seek change, not of ideas or of adjustments, but of possessions.

Consider the acres of rubbish specially designed for children and spread out over the counters of countless toy-shops. Trivial, unsatisfying things, the fruit of a perverse and intense commercial ingenuity: things made to sell, and not to use.

When the child's birthday comes, relations send him presents--give him presents, and his nursery is littered with a fresh array of undesirable imbecilities--to make way for which the last harvest of the same empty husks is thrust aside in the bottom of the toy cupboard. And in a couple of days most of the flimsy stuff is broken, and the child is weary to death of it all. If he has any real toys, he will leave the glittering trash for nurse to put away and go back to those real toys.

When I was a child in the nursery we had--there were three of us--a large rocking horse, a large doll's house (with a wooden box as annexe), a Noah's Ark, dinner and tea things, a great chest of oak bricks, and a pestle and mortar. I cannot remember any other toys that pleased us.

Dolls came and went, but they were not toys, they were characters, and now and then something of a clockwork nature strayed our way--to be broken up and disembowelled to meet the mechanical needs of the moment.

I remember a desperate hour when I found that the walking doll from Paris had clockwork under her crinoline, and could not be comfortably taken to bed. I had a black-and-white china rabbit who was hard enough, in all conscience, but then he never pretended to be anything but a china rabbit, and I bought him with my own penny at Sandhurst Fair. He slept with me for seven or eight years, and when he was lost, with my play-box and the rest of its loved contents, on the journey from France to England, all the dignity of my thirteen years could not uphold me in that tragedy.

It is a mistake to suppose that children are naturally fond of change.

They love what they know. In strange places they suffer violently from home-sickness, even when their loved nurse or mother is with them. They want to get back to the house they know, the toys they know, the books they know. And the loves of children for their toys, especially the ones they take to bed with them, should be scrupulously respected. Children nowadays have insanitary, dusty Teddy Bears. I had a "rag doll," but she was stuffed with hair, and was washed once a fortnight, after which nurse put in her features again with a quill pen, and consoled me for any change in her expression by explaining that she was "growing up." My little son had a soap-stone mouse, and has it still.

The fewer toys a child has the more he will value them; and it is important that a child should value his toys if he is to begin to get out of them their _full_ value. If his choice of objects be limited, he will use his imagination and ingenuity in making the objects available serve the purposes of such plays as he has in hand. Also it is well to remember that the supplementing of a child's own toys by other things, _lent for a time_, has considerable educational value. The child will learn quite easily that the difference between his and yours is not a difference between the attainable and the unattainable, but between the constant possession and the occasional possession. He will also learn to take care of the things which are lent to him, and, if he sees that you respect his possessions, will respect yours all the more in that some of them are, now and then, for a time and in a sense, his.

[Ill.u.s.tration: THE TURQUOISE TEMPLE.]

40]

The generosity of aunts, uncles, and relations generally should be kindly but firmly turned into useful channels. The purchase of "fancy"

things should be sternly discouraged.

With the rocking horse, the bricks, the doll's house, the cart or wheel-barrow, the tea and dinner set, the Noah's Ark and the puzzle maps, the nursery will be rudimentarily equipped. The supplementary equipment can be added as it is needed, not by the sporadic outbursts of unclish extravagance, but by well-considered and slow degrees, and by means in which the child partic.i.p.ates. For we must never forget that the child loves, both in imagination and in fact, to create. All his dreams, his innocent pretendings and make-believes, will help his nature to unfold, and his hands in their clumsy efforts will help the dreams, which in turn will help the little hands.

CHAPTER VI

Beauty and Knowledge

CLEVER young people find it amusing to sneer at the old-fashioned ideal of combining instruction with amus.e.m.e.nt--a stupid Victorian ideal, we are told, which a progressive generation has cast aside. Too hastily, perhaps--too inconsiderately. "Work while you work and play while you play" is a motto dealing with a big question, and one to which there are at least two sides. Entirely to divorce amus.e.m.e.nt and instruction--may not this tend to make the one dull and the other silly? In this, as in some other matters, our generation might well learn a little from its ancestors. In many ways no doubt we have far surpa.s.sed the simple ideals of our forefathers, but in the matter of amus.e.m.e.nts, in the matter of beauty, in the matter of teaching children things without boring them, or giving powders really and truly concealed in jam--have we advanced so much?

To begin with, the world is much uglier than it was. At least England is, and France, and Belgium, and Italy, and I do not suppose that Germany, so far ahead of us with airships, is far behind in the ugliness which seems to be, with the airship, the hall-mark of a really advanced nation.

We are proud, and justly, of the enormous advances made in the last sixty years in education, sanitation, and all the complicated and heavy machinery of the other 'ations, the 'ologies, and the 'isms; but in these other matters how is it with us? We have grown uglier, and the things which amuse no longer teach.

For a good many years now--more than three hundred--old men have said "Such things and such were better in our time." And always the young have disbelieved the saying, which in due course came from their own lips. Has it ever occurred to any one that the reason why old people say this is quite the simplest of all reasons? They say it because it is _true_, and true in our land in quite a special manner. The chariot wheels of advancing civilisation must always furrow some green fields, grind some fair flowers in the dust. But the chariot wheels in which civilisation to-day advances grows less and less like a chariot and more and more like a steam-roller, and unless we steer better there will very soon be few flowers left to us.

Those of us who have reached middle age already see that the old men spoke truly. Things are not what they were. Without dealing with frauds and adulterations and shoddy of all sorts we can see that things are not so good as they were, nor yet so beautiful.

And I do not think that this means just that we are growing old, and that the fingers of Time have rubbed the bloom from the fruit of Life.

Because those things which must be now as they used to be, trees, leaves, rivers, and the laughter of little children, flowers, the sea at those points where piers are impracticable, and mountains--the ones stony and steep enough to resist the jerry-builder and the funicular railway--still hold all, and more than all, their old magic and delight.

It seems that it is not only that the ugly and unmeaning things have grown, like a filthy fungus, over the sheer beauty of the world, but that the things that people mean to be beautiful are not beautiful, and the things they mean to be interesting lack interest.

And the disease is universal: it attacks new things as well as old. The cinematographs even, newest of the new, as things went in the old world; already the canker has eaten them up. In the first year of Picture Palaces we all crowded to see beautiful pictures of beautiful places: Niagara, the Zambesi Falls, the Grand Canon. The comic pieces were perhaps French, but they were certainly funny. Also we saw the way the world lived, when it was the other side of the world: "Elephants a-piling teak," naked savages, or as near naked as don't matter, moving in ceremonial dance before the idols that were the G.o.ds of their deep dangerous faith. Dramas of love and death and pity and poverty. Quite often in the early days the cinematograph tale was of some workman driven by want to the theft of a loaf. It is true that the story generally ended in his conviction and the adoption of his charming baby girl by the wife of the _Juge d'Instruction_, but all the same people saw some one poor and sad and tempted, and were sorry and sad for his sake. Also we had tales of Indians with men that rode amain, and horses that one longed to bestride, such beauties they were, all fire and delicate strong temperament. War dramas too there were, where the hero left his sweetheart, and turned coward perhaps, redeeming himself with magnificent completeness in the splendid _debacle_ of a forlorn hope.

That is all over. Already the sordid, heavy hand that smears commercial commonplace on all the bright facets of romance has obscured the vivid possibilities of the cinematograph. We have now for fun the elaborate hurting of one American person by another American person; for scenery, American flat-iron buildings; for romance the incredibly unimportant emotions of fleshy American actresses and actors. There are two girls, good and bad; two men, bad and good. In the end the good man gets the good girl, which is, of course, as it should be, or would be if we could believe in any moral quality in these fat-faced impersonators. You don't care a bit who wins, but none the less, the four of them mouth and mop and mow and make faces at you through five interminable acts, and when the good young man marries the good young woman in a parlour grossly furnished according to American ideals, you feel that both of them are well punished for their unpardonable existence. All real and delicate romance has, we observe, been wiped out by the cinematograph.

[Ill.u.s.tration: THE HALL OF PEARL AND RED]

It has long been the fashion to sneer at the Crystal Palace, and indeed the poor dear has gone from bad to worse. There are exhibitions there all exactly like all other exhibitions: Switch-backs, _Montagnes Russes_, Silhouettes, Tumble-sc.u.mbles, Weary waves, Threepenny thrills (where you hustle against strangers and shriek at the impact). But once the Crystal Palace was otherwise. In the Victorian days we sneer at, when our fathers could not see that there was any quarrel between knowledge and beauty, both of whom they loved, they built the Crystal Palace as a Temple vowed to these twin Deities of their worship. Think what the Crystal Palace was then. Think what its authors intended it to be. Think what, for a little time, it was. A place of beauty, a place where beauty and knowledge went hand in hand. It is quite true that a Brobdingnagian Conservatory does not seem so beautiful to us as it did to the Prince Consort and Sir Joseph Paxton. It is true that even in the palmiest days of the Crystal Palace you barked your shins over iron girders--painted a light blue, my memory a.s.sures me--and that the boards of the flooring were so far apart that you could lose, down the cracks of them, not only your weekly sixpence or your birthday shilling, but even the sudden unexpected cartwheel (do they still call a crown that?) contributed by an uncle almost more than human. It is true that the gravel of the paths in the "grounds" tired your feet and tried your temper, and that the adventure ended in a clinging to bony fingers and admonitions from nurse "not to drag so." But on the other hand... .

Think of the imagination, the feeling for romance that went to the furnishing of the old Crystal Palace. There was a lake in the grounds of Penge Park. How would our twentieth century _entrepreneurs_ deal with a lake? We need not pause to invent an answer. We know it would be something new and nasty. How did these despised mid-Victorians deal with it? They set up, amid the rocks and reeds and trees of the island in that lake, life-sized images of the wonders of a dead world. On a great stone crouched a Pterodactyl, his vast wings spread for flight. A mammoth sloth embraced a tree, and I give you my word that when you came on him from behind, you, in your six years, could hardly believe that he was not real, that he would not presently leave the tree and turn his attention to your bloused and belted self. (Little boys wore caps with peaks then, and blouses with embroidered collars.) Convinced, at last, by the cold feel of his flank to your fat little hand, that he was but stone, you kept, none the less, a memory of him that would last your life, and make his name, when you met it in a book, as thrilling as the name of a friend in the list of birthday honours. There was an Ichthyosaurus too, and another chap whose name I forget, but he had a scalloped crest all down his back to the end of his tail. And the Dinosaurus ... he had a round hole in his antediluvian stomach: and, with a brother--his own turn to come next, as in honour bound--to give you a leg-up, you could explore the roomy interior of the Dinosaur with feelings hardly to be surpa.s.sed by those of bandits in a cave. It is almost impossible to over-estimate the Dinosaurus as an educational influence. On your way back to the Palace itself you pa.s.sed Water Temples surrounded by pools where water-lilies grew. Afterwards, when you read of tanks and lotuses and India, you knew what to think.

There were Sphinxes--the correct plural was told you by aunts, and you rejected it on the terrace--and, within, more smooth water with marble at the edge and more lilies, and goldfish, palms, and ferns, and humming pervasive music from the organ. There were groves or shrubberies; you entered them a-tremble with a fearful joy. You knew that round the next corner or the next would be black and brown and yellow men; savages, with their huts and their wives and their weapons, their looking-gla.s.s-pools and their reed tunics, so near you that it was only a step across a little barrier and you could pretend that you also were a black, a brown, or a yellow person, and not a little English child in a tunic, belt, and peaked cap. You never took the step, but none the less those savages were your foes and your friends, and when you met them in your geography you thrilled to the encounter.

Further, there were Courts; I first met Venus, the armless wonder of Milo, and Hermes, embodied vision of Praxiteles, and the Discobolus, whom we all love, and who is exactly like Mr. Graham Wallas in youth, in the Grecian Court. In the Egyptian Court there were pictured pillars, and the very word Egypt is to me for their sake a Word of Power to this day. And the Spanish Court, the court of the Alhambra, the lovely mosaic, the gold and the blue and the red, the fountain, the marble, the strange unnatural beauty of the horseshoe arches... .

I shall never see the Alhambra now, but it is because of the Spanish Court at the Crystal Palace that there will always be an empty ache in my thought, an ache of the heart, a longing that is not all pain, at its name, a feeling like a beautiful dwarf despair, in that I never shall see that blue and red and golden glory, and the mystery of its strange mis-shapen arches that open to the whole world of dreams.

Say of the Mid-Victorians what you will; they did at least know, when they set them, the seeds of Romance. Think of Euston Station: those glorious pillars, the magnificent dream of an Egyptian building to loom through the Egyptian darkness of London's fogs. And the architecture of Egypt was too expensive, and Euston remains, a magnificent memorial--the child of genius stunted by finance.

There was Madame Tussaud's too, a close link with the French Revolution: the waxen heads of kings and democrats, the very guillotine itself. And Madame Tussaud's daughter, with the breathing breast that seemed alive, and the little old woman in the black bonnet, Madame herself, who had seen the rise of Republics and the deaths of kings. These things, last time I trod those halls, were put in the shade, their place usurped by vulgar tableaux, explaining to the bored spectators what happens to a vulgar young man with a wife whose skirt is much too short in front and her hair very badly done, if he leaves his home for the society of sirens and cardsharpers. The tableaux were cheap and nasty, and taught one nothing that one could not learn from the _Police News_.

Once there were nightingales that sang in the gardens on Loampit Hill.

Now it is all villas. Once the Hilly Fields were hilly fields where the children played, and there were primroses. Once the road from Eltham to Woolwich was a gra.s.sy lane with hedges and big trees in the hedges, and wild pinks and Bethlehem stars, and ragged robin and campion. Now the trees are cut down and there are no more flowers. It is asphalt all the way, and here and there seats divided by iron rods so that tired tramps should not sleep on them. And the green fields by Mottingham where the kingcups used to grow, and the willows by the little stream, they are eaten up by yellow caterpillars of streets all alike, all horrible; while in London old handsome houses are tenements, and children play on the dirty doorsteps of them with dead mice and mutton bones for toys. In the country women wear men's tweed caps instead of sunbonnets, and Hinde's curlers by day instead of curl papers (which if you were pretty, looked like wreaths of white roses) by night. And everything is getting uglier and uglier. And no one seems to care. And only the old people remember that things were not always ugly, remember how different things were--once.

[Ill.u.s.tration: A CHINESE TEMPLE.]

Therefore I would plead with all those who have to do with children to resist and to denounce uglification wherever they may meet with it, and to remember that there is knowledge which goes hand in hand with beauty.

To show a child beautiful things, and to answer as well all the questions he will ask about them, to charm and thrill his imagination with pictures and statues and models of the wonders of the world, to familiarise the child with beauty, so that he knows ugliness when he meets it, and hates it for the outrage it is to the beauty he has known and loved ever since he was very little--this is worth doing. If we would make beauty the dear rule of a man's life, and ugliness the hated exception, we should make beauty as familiar to the child as the air he breathes, and if we a.s.sociate knowledge with beauty the child will love them both.

CHAPTER VII

Of Building and Other Matters

A MOMENT of rapturous antic.i.p.ation lights life when the kind aunt or uncle has given the bricks, when the flat, sliding lid has been slipped back, and the smooth wooden cubes and oblongs have tumbled resoundingly on table or floor.

"I am going to build a palace," says the child. Or a tower or a church.

And, the highest hopes inspiring him, he sets out on the new adventure.

But he does not build a palace or a church, or even a railway station.

What he builds is a factory, or a wall, or, in the case of the terra-cotta bricks, a portion of a French gentleman's country villa--the kind you see dozens of along the railway between Paris and Versailles.

And however strong the child's desire that what he shall build shall be a palace or a church, that is, something beautiful and romantic, what he does build will always be the last thing he does, or ought to, admire.

The fault is in the materials. They are lacking both in quality and quant.i.ty. No box of bricks that can at present be bought for money will build anything that can satisfy an imaginative child. An ordinary box of bricks--a really handsome one--measures, say, 12 by 8 by 2 in. If anything admirable is to be built from this amount of material the material ought to be presented in very small cubes, oblongs and arches--say 1 in. by in. for the largest bricks, and going down to by by in. Given these proportions a really pretty though undistinguished building might result. But in the box of bricks 12 by 8 by 2 in. the smallest cube measures in. and the largest brick 9 by by in. These long slabs of surface cannot be broken and disguised in such small buildings as the only ones which the materials are enough to build. Hence, the deadly monotony of facade, broken only by the three or, in the case of the really handsome box, five arches, and suggesting nothing so much as a "works" or a workhouse.

[Ill.u.s.tration: THE SQUARE TOWER.]

In the bricks themselves there is not enough variety. The stone bricks, it is true, have broken out into a variety of ugly shapes and a blue colour with which you can, if you like, build a Mansard roof. But a Mansard roof in a coa.r.s.e ugly blue tint, is no thing of beauty.