And, firstly, I must record with deep thankfulness the circumstance that as soon as I could read I had the run of a thoroughly ill-selected library; or, rather, of a library that had not been selected at all. My father's collection, if that serious word may be applied to a hugger-mugger of books, had grown up anyhow and nohow, and in it the most revered stocks had mingled with the most frivolous. There were the Fathers, in the English version made by the Tractarians, and there was also no end of "yellowbacks" bought at Smith's bookstalls on railway journeys. There was a row of little Elzevir classics, "with the Sphere," bound in parchment that had grown golden with its two hundred and odd years; there was also Mr. Verdant Green in his tattered paper wrapper as my father had bought him at Oxford. Next to Verdant Green you might very likely find the Dialogues of Erasmus in seventeenth-century leather, and Borrow in his original boards—we read Borrow at Llanddewi long before there were any Borrovians—might hide an odd volume of "Martin Chuzzlewit" (in a "Railway Edition") which had tumbled to the back of the shelf. Hard by stood Copleston's "Prælectiones Academicæ," and close to it a complete set of Brontë books, including Mrs. Gaskell's "Life," all these in yellowish linen covers, being, I imagine, the first one-volume edition issued by the publishers. And here again Llanddewi in the woods may claim to have been in advance of its age, for we were devoted to the name of Brontë.
Suppose the weather did not beckon me, I would begin to go about the house on the search of books. I might have "Wuthering Heights" in my mind and be chasing that amazing volume very closely, and be, in fact, hot on the scent, when I would be brought up sharply by my grandfather's Hebrew grammar. I always loved the shape and show of the Hebrew character, and have meant to learn the language from 1877 onwards, but have not yet thoroughly mastered the alphabet. I once, indeed, got so advanced as to be able to spell out the Yiddish posters which cover the walls in the East End of London, and I remember being much amused when I had deciphered a most mystic, reverend-looking word and found that it read "Bishopsgyte." But I believe that in Yiddish the two "yods" represent the "a" sound.
Well, this Hebrew grammar would distract me from the hunt of Emily Brontë's masterpiece, and by the time I had decided that Monday would be soon enough for a serious beginning in Hebrew, while I meditated in the meanwhile on the beauty of the names of the four classes of accents—Emperors, Kings, Princes, and Dukes, I think—it was likely enough that I had got hold of Alison's "History of Europe," or "The Bible in Spain," or a book on Brasses. And by the time I had gloated over the horrors of the French Revolution as described in Alison, or had marvelled at Borrow in the character of a Protestant colporteur, or had admired the pictured brasses of Sir Robert de Septvans, Sir Roger de Trumpington—winnowing fans on the coat-armour of the one, trumpets on the shield of the other—and Abbot Delamere of St. Albans it was tea-time, and I probably spent the rest of the evening with a bound volume of "Chambers's Journal," "All the Year Round," "Cornhill," or "The Welcome Guest." These were always a great resource; and I particularly wish that I still possessed "The Welcome Guest," a popular weekly dating from the late 'fifties of last century. It was full of work by people who afterwards became famous, and now, again, are fading into forgetfulness. John Hollingshead we still remember, though it is only the elderly who can tell much now of "the sacred lamp of burlesque," which was kept burning at the Gaiety. Hollingshead was a contributor to "The Welcome Guest," so also were the Brothers Mayhew and the Brothers Brough, so on a great scale was George Augustus Sala, who wrote in it "Twice Round the Clock" and something that was called, I fancy, "Make Your Game or, the Adventures of the Stout Gentleman, the Thin Gentleman, and the Man with the Iron Chest." This was a "lively" account of a visit to the gaming tables then existing in Germany. The Stout Gentleman was one of the Mayhews, the Man with the Iron Chest was Sala himself; and I met the Thin Gentleman many years afterwards in a cock-loft in Catherine Street, where I was cataloguing books on magic and alchemy and the secret arts in general. The cock-loft was over the Vizetellys' publishing office, and the Thin Gentleman was old Mr. Vizetelly. We "larned" him to publish a translation of "La Terre" by sending him, an old man past seventy, to gaol for three months. He died soon afterwards; I forget whether his death took place before or after the very handsome and official and "respectable" reception and entertainment that were given to Zola on his visiting England.
I must say that I should like to see the old "Welcome Guest" volume again. I am afraid I should not admire its literature very much, for Sala, the chief contributor, had already acquired those vicious mannerisms which pleased the injudicious. He would speak of Billingsgate as a "piscatorial bourse," for instance. I am afraid I should find it all terribly old-fashioned. But I should like to hold the fat volume again and glance through its pages, for they would bring back to me the long winter evenings, and the rectory fire burning cheerfully, and the heavy red curtains drawn close over the windows, shutting out the night.
I must say that I found a great joy and resource in these old magazines. If one were in a mood averse from reading in the solid block, if the hour did not seem propitious for beginning once more "Pickwick" from the beginning, it was a delight to think of those bound volumes all in a row, and of the inexhaustible supply of mixed literature which they contained. For just as there was always the chance, and indeed the likelihood, of making new discoveries in the happy confusion of the Llanddewi library, so it was with these rows of "Household Words," "Chambers's," "All the Year Round," "Welcome Guest," and "Cornhill"; there was always the possibility of a find; some tale or essay hitherto overlooked or neglected might turn out to be full of matter and entertainment. And so the most unlikely events happened. You would expect to find good things of all sorts in a magazine edited by Charles Dickens, but you would hardly expect to find there the curious thing or the out-of-the-way thing. Still, it was in a volume of "Household Words" that I first read about alchemy in a short series of papers which (I have since recognised) were singularly well-informed and enlightened. I do not wish it to be understood that I myself have any strong convictions on the matter of turning inferior metals into superior, though I believe the later trend of science is certainly in favour of the theoretical possibility of such a process. Nor do I hold any distinct brief for the very fascinating doctrine which maintains, or would like to maintain, that the great alchemical books are really symbolical books; that while seeming to relate to lead and gold, to mercury and silver, they hide under these figures intimations as to a profound and ineffable transmutation of the spirit; that the experiment to which they relate is the Great Experiment of the mystics, which is the experiment of God. This, I say, is a fascinating theory; whether it have any truth in it I know not, and perhaps it is one of those questions of which Sir Thomas Browne speaks; questions difficult, indeed, and perplexed, but not beyond all conjecture. But, however this may be, I recollect that those articles in that old, half-calf bound volume of "Household Words," while not affirming this, that, or the other doctrine as to alchemy in so many distinct words, did suggest that a few of the old alchemists, at all events, were something more than blundering simpletons engaged on a quest which was a patent absurdity, which could only have been entertained by the besotted superstition of "the dark ages," which had this one claim to our attention inasmuch as the modern science of chemistry rose from the ashes of its foolish fires.
This is not the place for a discussion of the art of Thrice Great Hermes; the matter is cited here as an example of the odd and unexpected way in which my attention, I being some eight or nine years old, was directed to a singular and perplexing subject which has engaged my curiosity at intervals ever since. I see myself sitting on a stool by the rectory hearth, propping up "Household Words" against the fender, quite ravished by the story of Nicholas Flamel, who found by chance "The Book of Abraham the Jew," who journeyed all over Europe in search of one who would interpret its figures to him, who succeeded at last in the Operation of the Great Work, and was discovered by the King's Ch
amberlain living in great simplicity, eating cabbage soup with Pernelle, his wife. These fireside studies of mine must have been made forty-three or forty-four years ago, but I still think the story of Nicholas Flamel and Pernelle, his wife, an enchanting one. But then I re-read the tale of Aladdin and the Wonderful Lamp only the other day, and I am still thrilled and perplexed by that most singular and important fact; that the genie declared himself to be the servant of the Roc's Egg.
I am sorry to have to confess that the rectory shelves held no copy of "The Arabian Nights." I made up this deficiency soon after I went to school by buying an excellent edition, issued, I think, by Routledge for a shilling. This edition is now, the booksellers tell me, out of print, and it is a pity, for now if you want the book there is nothing between an edition obviously meant for the nursery, with gaudy plates, and Lane's version for thirty shillings. I speak not of Burton, for I found myself unable to read a couple of pages of his detestable English, made more terrible by the imitations of the rhymed prose of the original. I came upon something which went very much as follows:—
Then followed the dawn of day, and the Princess finished her allotted say,
Praise be to the Lord of Light alway, who faileth not to send the appointed ray——
and so on, at much greater length; highly ingenious, no doubt, and also infinitely foolish.
I remember once wasting hours—nay, days—in the effort to render Rabelais' "Verses written over the Great Gate of the Abbey of Thelème" into English, following as far as I could the rhyme system. Now, according to the French notion, "don" is a perfect rhyme to "pardon," and so Rabelais wrote:—
Or donné par don,
Ordonne pardon
A cil qui le donne;
Et bien guerdonne
Tout mortel preudhom
Or donné par don.
That is, the final sound of each line is almost identical with the final sound of every other line; and of this I made:—
For given relief,
Forgiven and lief
The giver believe;
And all men that live
May gain the palm leaf
For given relief.
Soon afterwards, while I was resting from this mighty effort, I read in Disraeli's "Curiosities of Literature" a quotation from Martial: Turpe est difficiles habere nugas—'Tis folly to sweat o'er a difficult trifle.' I was convinced of my sin. I suppose that the real translator when confronted by such puzzles contrives to think of an indirect rather than a direct solution. For example, the right way of getting the effect of the Arabic jingle into English might be sought by the path of alliteration; or possibly blank verse might give to the English reader something of the same kind of pleasure as that enjoyed by the Oriental in reading a prose which infringes on the region of poetry. And it may be that the queer music of Rabelais could be echoed, at least, in English by the use of assonance.
Here is, indeed, a diversion, but it has arisen, legitimately enough, from that shilling, paper wrapper volume of "The Arabian Nights" bought in 1875 or '76 or thereabouts. And another event of like importance was my seeing De Quincey's "Confessions of an English Opium Eater" at Pontypool Road Station. This also I instantly bought and as instantly loved, and still love very heartily. It always vexes me to detect, as I constantly do detect in modern critics, the subtle desire to run down De Quincey. The critic is afraid to make a frontal attack—the stress of these times will win pardon for the phrase—since he knows that he will be opposed by such splendours and such terrors—"an army with banners"—as the English language can scarce show elsewhere. He is quite aware, since he is, ex hypothesi, an able critic, that De Quincey deliberately used our tongue as if it had been a mighty organ in mightier cathedral, so that the very stones and the far-lifted vault and the hollow spaces of the towers re-echo and reverberate and thrill with tremendous fugal harmonies. And our critics are advised also that De Quincey was no mere player of clever tricks with the language; his was not the amusing Stevensonian method of counting the "l's" and estimating the value of medial "s's" and the terrifying effect of the final reiterated "r." There was none of this; he wrote in the great manner because he thought in the great manner. The critic cannot deny this; he must admit the beauty and pathos of the Ann episode and of the vision of Jerusalem; but still he will hint a fault and hesitate his dislike of this greater master. The reason is not far to seek. All realism is unpopular, and De Quincey was eminently a realist.
Now I know that I am touching here on a great question. I hope to debate it at length later on; for the moment I would merely say that I define realism as the depicting of eternal, inner realities—the "things that really are" of Plato—as opposed to the description of transitory, external surfaces; the delusory masks and dominoes with which the human heart drapes and hides itself. But, all this apart, I cannot help dwelling on the manner in which I associate these early literary discoveries of mine with the places where they were made.
You may hear friends and lovers discussing after many years the manner of their first meeting; Daphnis as Darby will remind Chloe—now Joan—how they saw one another for the first time at the Smiths' garden-party, and one plate of their bread and butter tasted slightly of onions, and the curate achieved six faults running at lawn-tennis, and it came on to rain. So I can never take up De Quincey without thinking of the dismal platform at Pontypool Road, and the joy of coming home for the holidays, and the mountains all about me as I stood and waited for my father and the trap and read the first pages of the magic book. Those great mountains, and the drive home by the green arched lanes, abounding in flowers, and the very dear look of home amidst its orchards; all these are part and parcel of my joy in the "Confessions" for ever. And so again with another noble book; with one of the noblest of all books, as I have ever esteemed it. I am a very small boy; about seven or eight years old, I conceive, and my mother takes me with her to pay a call on Mrs. Gwyn, of Llanfrechfa Rectory. The ladies talk, and I, seeking quietly for something to entertain me, light in a low bookcase on a fat, dumpy little book. I suspect it was the oddity of the shape, the extreme squabness of the volume, that first took my fancy, and then I open the pages—and I have never really closed them. For the dumpy book was a translation of "The Ingenious Gentleman, Don Quixote de la Mancha"; and those are words that will thrill a lettered man as the opening notes of certain fugues of Bach will thrill a musician. I heard nothing of the amiable talk of the ladies. I was deep in the small print—alas! it would now blind my tired eyes—and when my mother rose to go I clung so desperately and piteously to the fat little book that the kind Mrs. Gwyn said she would lend it to me, and I might take it home. For which benevolence I am ever bound to pray for her good estate, or for her soul; as it may chance to be.
So, as Hereford Station spells for me, principally, "The Arabian Nights," as De Quincey is linked with domed mountains and green lanes and the return home: the Ingenious Gentleman advanced to greet me, mysteriously enough, in the drawing-room of the rectory of Llanfrechfa, and I shall always reckon Frechfa—the "freckled"—as among the most venerated of the Celtic saints.
* * *
For a long time, as it seems to me, I have been talking of discoveries of books; discoveries in our own Llanddewi shelves, in the shelves of neighbours, on railway bookstalls. We shall hear more of books by and by, of books found in very different places—Clare Market and the Strand of 1880 and back streets by Notting Hill Gate are even now looming before us—so for the present we may hear more of the conditions of that Gwent where I was a boy and a young man.
I have said that I was born just a little too late to witness the Passing of the Gentry. Few of them survived into my day, and I was too young to see with intelligence that which still remained to be seen of the old order. But one thing I do remember, that the gentry of those times, even when they were wealthy, lived with a simplicity that would astonish the people of to-day. Those who know "Martin Chuzzlewit" will remember how Tigg Montague, who was Montague Tigg, lun
ched luxuriously in the board room of his city office. The meal was brought in on a tray and consisted of "a pair of cold roast fowls, flanked by some potted meats and a cool salad." There was a bottle of champagne and a bottle of Madeira. This was the luncheon of vulgar and ostentatious luxury in the 'forties; compare it with the kind of midday meal that the modern Montague would eat at the Hôtel Splendide or the Hôtel Glorieux; the meal of the man who eats and drinks as much to impress others with his wealth as to gratify his own appetite.
Well, I have often seen "the old Lord Tredegar" eating his luncheon. My father and I would be in the coffee-room of the King's Head, Newport, waiting for the ostler to put in the pony. And there in one of the boxes sat the old lord—a very wealthy man—eating his luncheon; which was bread and cheese and a tankard of ale. And, oddly enough, on the one occasion on which I visited the Ham, the magnate thereof, Mr. Iltyd Nicholl, was enjoying a meal similar in every respect to that of Lord Tredegar—though I believe he had a little cold apple tart after his cheese. We, of the middle people, always dined at one on meat, pudding, and cheese; tea followed at five, an affair of bread and butter and jam, with, possibly, a caraway loaf. Hot buttered toast was distinctly festal. The day closed so far as meals were concerned with bread and cheese and beer at nine o'clock. On rare occasions, once in three years or so, a number of clergy who called themselves collectively the Ruridecanal Chapter came to hear a paper read and also to a dinner. This would probably consist of a salmon of Severn or Usk—which muddy waters breed incomparably the finest salmon in the world—of a saddle of Welsh mutton from the mountains, and of a rich sweet called, very lightly and unworthily, a trifle. There would be a dessert of almonds and raisins and, according to the season, home-grown apples and pears or greengages. These delicates would be displayed on a service which showed green vine-leaves in relief against a buff ground, bordered with deep purple and gold. It was hideous, and, I should think, Spode.
Arthur Machen Ultimate Collection Page 474
