[And everyone obtained his just Deserts!]
We pay dearly for our want of sincerity. We are denied the payment of praise: it has ceased to have any value. People shake me warmly by the hand and tell me that they like my books. It only bores me. Not that I am superior to compliment―nobody is―but because I cannot be sure that they mean it. They would say just the same had they never read a line I had written. If I visit a house and find a book of mine open face downwards on the window-seat, it sends no thrill of pride through my suspicious mind. As likely as not, I tell myself, the following is the conversation that has taken place between my host and hostess the day before my arrival:
"Don't forget that man J― is coming down tomorrow."
"To-morrow! I wish you would tell me of these things a little earlier."
"I did tell you―told you last week. Your memory gets worse every day."
"You certainly never told me, or I should have remembered it. Is he anybody important?"
"Oh, no; writes books."
"What sort of books?―I mean, is he quite respectable?"
"Of course, or I should not have invited him. These sort of people go everywhere nowadays. By the by, have we got any of his books about the house?"
"I don't think so. I'll look and see. If you had let me know in time I could have ordered one from Mudie's."
"Well, I've got to go to town; I'll make sure of it, and buy one."
"Seems a pity to waste money. Won't you be going anywhere near Mudie's?"
"Looks more appreciative to have bought a copy. It will do for a birthday present for someone."
On the other hand, the conversation may have been very different. My hostess may have said:
"Oh, I AM glad he's coming. I have been longing to meet him for years."
She may have bought my book on the day of publication, and be reading it through for the second time. She may, by pure accident, have left it on her favourite seat beneath the window. The knowledge that insincerity is our universal garment has reduced all compliment to meaningless formula. A lady one evening at a party drew me aside. The chief guest―a famous writer―had just arrived.
"Tell me," she said, "I have so little time for reading, what has he done?"
I was on the point of replying when an inveterate wag, who had overheard her, interposed between us.
"'The Cloister and the Hearth,'" he told her, "and 'Adam Bede.'"
He happened to know the lady well. She has a good heart, but was ever muddle-headed. She thanked that wag with a smile, and I heard her later in the evening boring most evidently that literary lion with elongated praise of the "Cloister and the Hearth" and "Adam Bede." They were among the few books she had ever read, and talking about them came easily to her. She told me afterwards that she had found that literary lion a charming man, but -
"Well," she laughed, "he has got a good opinion of himself. He told me he considered both books among the finest in the English language."
It is as well always to make a note of the author's name. Some people never do―more particularly playgoers. A well-known dramatic author told me he once took a couple of colonial friends to a play of his own. It was after a little dinner at Kettner's; they suggested the theatre, and he thought he would give them a treat. He did not mention to them that he was the author, and they never looked at the programme. Their faces as the play proceeded lengthened; it did not seem to be their school of comedy. At the end of the first act they sprang to their feet.
"Let's chuck this rot," suggested one.
"Let's go to the Empire," suggested the other. The well-known dramatist followed them out. He thinks the fault must have been with the dinner.
A young friend of mine―a man of good family―contracted a mesalliance: that is, he married the daughter of a Canadian farmer, a frank, amiable girl, bewitchingly pretty, with more character in her little finger than some girls possess in their whole body. I met him one day, some three months after his return to London.
[And only people would do Parlour Tricks who do them well!]
"Well," I asked him, "how is it shaping?"
"She is the dearest girl in the world," he answered. "She has only got one fault; she believes what people say."
"She will get over that," I suggested.
"I hope she does," he replied; "it's awkward at present."
"I can see it leading her into difficulty," I agreed.
"She is not accomplished," he continued. He seemed to wish to talk about it to a sympathetic listener. "She never pretended to be accomplished. I did not marry her for her accomplishments. But now she is beginning to think she must have been accomplished all the time, without knowing it. She plays the piano like a schoolgirl on a parents' visiting-day. She told them she did not play―not worth listening to―at least, she began by telling them so. They insisted that she did, that they had heard about her playing, and were thirsting to enjoy it. She is good nature itself. She would stand on her head if she thought it would give real joy to anyone. She took it they really wanted to hear her, and so let 'em have it. They tell her that her touch is something quite out of the common―which is the truth, if only she could understand it―why did she never think of taking up music as a profession? By this time she is wondering herself that she never did. They are not satisfied with hearing her once. They ask for more, and they get it. The other evening I had to keep quiet on my chair while she thumped through four pieces one after the other, including the Beethoven Sonata. We knew it was the Beethoven Sonata. She told us before she started it was going to be the Beethoven Sonata, otherwise, for all any of us could have guessed, it might have been the 'Battle of Prague.' We all sat round with wooden faces, staring at our boots. Afterwards those of them that couldn't get near enough to her to make a fool of her crowded round me. Wanted to know why I had never told them I had discovered a musical prodigy. I'll lose my temper one day and pull somebody's nose, I feel I shall. She's got a recitation; whether intended to be serious or comic I had never been able to make up my mind. The way she gives it confers upon it all the disadvantages of both. It is chiefly concerned with an angel and a child. But a dog comes into it about the middle, and from that point onward it is impossible to tell who is talking―sometimes you think it is the angel, and then it sounds more like the dog. The child is the easiest to follow: it talks all the time through its nose. If I have heard that recitation once I have heard it fifty times; and now she is busy learning an encore.
[And all the World had Sense!]
"What hurts me most," he went on, "is having to watch her making herself ridiculous. Yet what am I to do? If I explain things to her she will be miserable and ashamed of herself; added to which her frankness―perhaps her greatest charm―will be murdered. The trouble runs through everything. She won't take my advice about her frocks. She laughs, and repeats to me―well, the lies that other women tell a girl who is spoiling herself by dressing absurdly; especially when she is a pretty girl and they are anxious she should go on spoiling herself. She bought a hat last week, one day when I was not with her. It only wants the candles to look like a Christmas tree. They insist on her taking it off so they may examine it more closely, with the idea of having one built like it for themselves; and she sits by delighted, and explains to them the secret of the thing. We get to parties half an hour before the opening time; she is afraid of being a minute late. They have told her that the party can't begin without her―isn't worth calling a party till she's there. We are always the last to go. The other people don't matter, but if she goes they will feel the whole thing has been a failure. She is dead for want of sleep, and they are sick and tired of us; but if I look at my watch they talk as if their hearts were breaking, and she thinks me a brute for wanting to leave friends so passionately attached to us.
"Why do we all play this silly game; what is the sense of it?" he wanted to know.
I could not tell him.
CHAPTER VI
[fire and the Foreigner.]
They
are odd folk, these foreigners. There are moments of despair when I almost give them up―feel I don't care what becomes of them―feel as if I could let them muddle on in their own way―wash my hands of them, so to speak, and attend exclusively to my own business: we all have our days of feebleness. They will sit outside a cafe on a freezing night, with an east wind blowing, and play dominoes. They will stand outside a tramcar, rushing through the icy air at fifteen miles an hour, and refuse to go inside, even to oblige a lady. Yet in railway carriages, in which you could grill a bloater by the simple process of laying it underneath the seat, they will insist on the window being closed, light cigars to keep their noses warm, and sit with the collars of their fur coats buttoned up around their necks.
In their houses they keep the double windows hermetically sealed for three or four months at a time: and the hot air quivering about the stoves scorches your face if you venture nearer to it than a yard. Travel can broaden the mind. It can also suggest to the Britisher that in some respects his countrymen are nothing near so silly as they are supposed to be. There was a time when I used to sit with my legs stretched out before the English coal fire and listen with respectful attention while people who I thought knew all about it explained to me how wicked and how wasteful were our methods.
All the heat from that fire, they told me, was going up the chimney. I did not like to answer them that notwithstanding I felt warm and cosy. I feared it might be merely British stupidity that kept me warm and cosy, not the fire at all. How could it be the fire? The heat from the fire was going up the chimney. It was the glow of ignorance that was making my toes tingle. Besides, if by sitting close in front of the fire and looking hard at it, I did contrive, by hypnotic suggestion, maybe, to fancy myself warm, what should I feel like at the other end of the room?
It seemed like begging the question to reply that I had no particular use for the other end of the room, that generally speaking there was room enough about the fire for all the people I really cared for, that sitting altogether round the fire seemed quite as sensible as sulking by one's self in a corner the other end of the room, that the fire made a cheerful and convenient focus for family and friends. They pointed out to me how a stove, blocking up the centre of the room, with a dingy looking fluepipe wandering round the ceiling, would enable us to sit ranged round the walls, like patients in a hospital waiting-room, and use up coke and potato-peelings.
Since then I have had practical experience of the scientific stove. I want the old-fashioned, unsanitary, wasteful, illogical, open fireplace. I want the heat to go up the chimney, instead of stopping in the room and giving me a headache, and making everything go round. When I come in out of the snow I want to see a fire―something that says to me with a cheerful crackle, "Hallo, old man, cold outside, isn't it? Come and sit down. Come quite close and warm your hands. That's right, put your foot under him and persuade him to move a yard or two. That's all he's been doing for the last hour, lying there roasting himself, lazy little devil. He'll get softening of the spine, that's what will happen to him. Put your toes on the fender. The tea will be here in a minute."
[My British Stupidity.]
I want something that I can toast my back against, while standing with coat tails tucked up and my hands in my pockets, explaining things to people. I don't want a comfortless, staring, white thing, in a corner of the room, behind the sofa―a thing that looks and smells like a family tomb. It may be hygienic, and it may be hot, but it does not seem to do me any good. It has its advantages: it contains a cupboard into which you can put things to dry. You can also forget them, and leave them there. Then people complain of a smell of burning, and hope the house is not on fire, and you ease their mind by explaining to them that it is probably only your boots. Complicated internal arrangements are worked by a key. If you put on too much fuel, and do not work this key properly, the thing explodes. And if you do not put on any coal at all and the fire goes out suddenly, then likewise it explodes. That is the only way it knows of calling attention to itself. On the Continent you know when the fire wants seeing to merely by listening:
"Sounded like the dining-room, that last explosion," somebody remarks.
"I think not," observes another, "I distinctly felt the shock behind me―my bedroom, I expect."
Bits of ceiling begin to fall, and you notice that the mirror over the sideboard is slowly coming towards you.
"Why it must be this stove," you say; "curious how difficult it is to locate sound."
You snatch up the children and hurry out of the room. After a while, when things have settled down, you venture to look in again. Maybe it was only a mild explosion. A ten-pound note and a couple of plumbers in the house for a week will put things right again. They tell me they are economical, these German stoves, but you have got to understand them. I think I have learnt the trick of them at last: and I don't suppose, all told, it has cost me more than fifty pounds. And now I am trying to teach the rest of the family. What I complain about the family is that they do not seem anxious to learn.
"You do it," they say, pressing the coal scoop into my hand: "it makes us nervous."
It is a pretty, patriarchal idea: I stand between the trusting, admiring family and these explosive stoves that are the terror of their lives. They gather round me in a group and watch me, the capable, all-knowing Head who fears no foreign stove. But there are days when I get tired of going round making up fires.
Nor is it sufficient to understand only one particular stove. The practical foreigner prides himself upon having various stoves, adapted to various work. Hitherto I have been speaking only of the stove supposed to be best suited to reception rooms and bedrooms. The hall is provided with another sort of stove altogether: an iron stove this, that turns up its nose at coke and potato-peelings. If you give it anything else but the best coal it explodes. It is like living surrounded by peppery old colonels, trying to pass a peaceful winter among these passionate stoves. There is a stove in the kitchen to be used only for roasting: this one will not look at anything else but wood. Give it a bit of coal, meaning to be kind, and before you are out of the room it has exploded.
Then there is a trick stove specially popular in Belgium. It has a little door at the top and another little door at the bottom, and looks like a pepper-caster. Whether it is happy or not depends upon those two little doors. There are times when it feels it wants the bottom door shut and the top door open, or vice versa, or both open at the same time, or both shut―it is a fussy little stove.
Ordinary intelligence does not help you much with this stove. You want to be bred in the country. It is a question of instinct: you have to have Belgian blood in your veins to get on comfortably with it. On the whole, it is a mild little stove, this Belgian pet. It does not often explode: it only gets angry, and throws its cover into the air, and flings hot coals about the room. It lives, generally speaking, inside an iron cupboard with two doors. When you want it, you open these doors, and pull it out into the room. It works on a swivel. And when you don't want it you try to push it back again, and then the whole thing tumbles over, and the girl throws her hands up to Heaven and says, "Mon Dieu!" and screams for the cook and the femme journee, and they all three say "Mon Dieu!" and fall upon it with buckets of water. By the time everything has been extinguished you have made up your mind to substitute for it just the ordinary explosive stove to which you are accustomed.
[I am considered Cold and Mad.]
In your own house you can, of course, open the windows, and thus defeat the foreign stove. The rest of the street thinks you mad, but then the Englishman is considered by all foreigners to be always mad. It is his privilege to be mad. The street thinks no worse of you than it did before, and you can breathe in comfort. But in the railway carriage they don't allow you to be mad. In Europe, unless you are prepared to draw at sight upon the other passengers, throw the conductor out of the window, and take the train in by yourself, it is useless arguing the question of fresh air. The rule abroad is that if
any one man objects to the window being open, the window remains closed. He does not quarrel with you: he rings the bell, and points out to the conductor that the temperature of the carriage has sunk to little more than ninety degrees, Fahrenheit. He thinks a window must be open.
The conductor is generally an old soldier: he understands being shot, he understands being thrown out of window, but not the laws of sanitation. If, as I have explained, you shoot him, or throw him out on the permanent way, that convinces him. He leaves you to discuss the matter with the second conductor, who, by your action, has now, of course, become the first conductor. As there are generally half a dozen of these conductors scattered about the train, the process of educating them becomes monotonous. You generally end by submitting to the law.
Unless you happen to be an American woman. Never did my heart go out more gladly to America as a nation than one spring day travelling from Berne to Vevey. We had been sitting for an hour in an atmosphere that would have rendered a Dante disinclined to notice things. Dante, after ten minutes in that atmosphere, would have lost all interest in the show. He would not have asked questions. He would have whispered to Virgil:
"Get me out of this, old man, there's a good fellow!"
[Sometimes I wish I were an American Woman.]
The carriage was crowded, chiefly with Germans. Every window was closed, every ventilator shut. The hot air quivered round our feet Seventeen men and four women were smoking, two children were sucking peppermints, and an old married couple were eating their lunch, consisting chiefly of garlic. At a junction, the door was thrown open. The foreigner opens the door a little way, glides in, and closes it behind him. This was not a foreigner, but an American lady, en voyage, accompanied by five other American ladies. They marched in carrying packages. They could not find six seats together, so they scattered up and down the carriage. The first thing that each woman did, the moment she could get her hands free, was to dash for the nearest window and haul it down.
The Angel and the Author - and others Page 4
