by Grant Allen
On your way back from Paris some day, stop a night at Amiens and take the Cathedral seriously. Half the stately interior of that glorious thirteenth century pile is encrusted and overlaid by hideous gewgaw monstrosities of the flashiest Bernini and baroque period. There they sprawl their obtrusive legs and wave their flaunting theatrical wings to the utter destruction of all repose and consistency in one of the noblest and most perfect buildings of Europe. Nowadays, any child, any workman can see at a glance how ugly and how disfiguring those floppy creatures are; it is impossible to look at them without saying to oneself: “Why don’t they clear away all this high-faluting rubbish, and let us see the real columns and arches and piers as their makers designed them?” Yet who was it that put them there, those unspeakable angels in muslin drapery, those fly-away nymphs and graces and seraphim? Why, the best and most skilled artists of their day in Europe. And whence comes it that the merest child can now see instinctively how out of place they are, how disfiguring, how incongruous? Why, because the Gothic revival has taught us all by degrees to appreciate the beauty and delicacy of a style which to our eighteenth century ancestors was mere barbaric mediævalism; has taught us to admire its exquisite purity, and to dislike the obstrusive introduction into its midst of incongruous and meretricious Bernini-like flimsiness.
The Zeitgeist has changed, and we have changed with it.
It is just the same with our friend Botticelli. Scarce a dozen years ago, it was almost an affectation to pretend you admired him. It is no affectation now. Hundreds of assorted young women from the Abyss of Bayswater may rise any morning here in sacred Florence and stand genuinely enchanted before the Adoration of the Kings, or the Venus who floats on her floating shell in a Botticellian ocean. And why? Because Leighton, Holman Hunt, Rossetti, Burne-Jones, Madox Brown, Strudwick, have led them slowly up to it by golden steps innumerable. Thirty years ago the art of the early Tuscan painters was something to us Northerners exotic, strange, unconnected, archæological. Gradually, it has been brought nearer and nearer to us on the walls of the Grosvenor and the New Gallery, till now he that runs may read; the ingenuous maiden, fished from the Abyss of Bayswater, can drink in at a glance what it took a Ruskin many years of his life and much slow development to attain to piecemeal.
That is just what all great men are for — to make the world accept as a truism in the generation after them what it rejected as a paradox in the generation before them.
Not, of course, that there isn’t a little of affectation, and still more of fashion, to the very end in all of it. An immense number of people, incapable of genuinely admiring anything for its own sake at all, are anxious only to be told what they “ought to admire, don’t you know,” and will straightway proceed as conscientiously as they can to get up an admiration for it. A friend of mine told me a beautiful example. Two aspiring young women, of the limp-limbed, short-haired, æsthetic species, were standing rapt before the circular Madonna at the Uffizi. They had gazed at it long and lovingly, seeing it bore on its frame the magic name of Botticelli. Of a sudden one of the pair happened to look a little nearer at the accusing label. “Why, this is not Sandro,” she cried, with a revulsion of disgust; “this is only Aless.” And straightway they went off from the spot in high dudgeon at having been misled as they supposed into examining the work of “another person of the same name.”
Need I point the moral of my apologue, in this age of enlightenment, by explaining, for the benefit of the junior members, that the gentleman’s full name was really Alessandro, and that both abbreviations are impartially intended to cover his one and indivisible personality? The first half is official, like Alex.; the second affectionate and familiar, like Sandy.
Still, even after making due allowance for such humbugs as these, a vast residuum remains of people who, if born sixty years ago, could never by any possibility have been made to see there was anything admirable in Lippi, Botticelli, Giotto; but who, having been born thirty years ago, see it without an effort. Hundreds who read these lines must themselves remember the unmistakable thrill of genuine pleasure with which they first gazed upon the Fra Angelicos at San Marco, the Memlings at Bruges, the Giottos in the Madonna dell’ Arena at Padua. To many of us, those are real epochs in our inner life. To the men of fifty years ago, the bare avowal itself would have seemed little short of affected silliness.
Is the change all due to the teaching of the teachers and the preaching of the preachers? I think not entirely. For, after all, the teachers and the preachers are but a little ahead of the age they live in. They see things earlier; they help to lead us up to them; but they do not wholly produce the revolutions they inaugurate. Humanity as a whole develops consistently along certain pre-established and predestined lines. Sooner or later, a certain point must inevitably be reached; but some of us reach it sooner, and most of us later. That’s all the difference. Every great change is mainly due to the fact that we have all already attained a certain point in development. A step in advance becomes inevitable after that, and one after another we are sure to take it. In one word, what it needed a man of genius to see dimly thirty years ago, it needs a singular fool not to see clearly nowadays.
XIV. THE DECLINE OF MARRIAGE.
Men don’t marry nowadays. So everybody tells us. And I suppose we may therefore conclude, by a simple act of inference, that women in turn don’t marry either. It takes two, of course, to make a quarrel — or a marriage.
Why is this? “Young people nowadays want to begin where their fathers left off.” “Men are made so comfortable at present in their clubs.” “College-bred girls have no taste for housekeeping.” “Rents are so high and manners so luxurious.” Good heavens, what silly trash, what puerile nonsense! Are we all little boys and girls, I ask you, that we are to put one another off with such transparent humbug? Here we have to deal with a primitive instinct — the profoundest and deepest-seated instinct of humanity, save only the instincts of food and drink and of self-preservation. Man, like all other animals, has two main functions: to feed his own organism, and to reproduce his species. Ancestral habit leads him, when mature, to choose himself a mate — because he loves her. It drives him, it urges him, it goads him irresistibly. If this profound impulse is really lacking to-day in any large part of our race, there must be some correspondingly profound and adequate reason for it. Don’t let us deceive ourselves with shallow platitudes which may do for drawing-rooms. This is philosophy, even though post-prandial. Let us try to take a philosophic view of the question at issue, from the point of vantage of a biological outlook.
Before you begin to investigate the causes of a phenomenon quelconque, ’tis well to decide whether the phenomenon itself is there to investigate.
Taking society throughout — not in the sense of those “forty families” to which the term is restricted by Lady Charles Beresford — I doubt whether marriage is much out of fashion. Statistics show a certain decrease, it is true, but not an alarming one. Among the labouring classes, I imagine men, and also women, still wed pretty frequently. When people say, “Young men won’t marry nowadays,” they mean young men in a particular stratum of society, roughly bounded by a silk hat on Sundays. Now, when you and I were young (I take it for granted that you and I are approaching the fifties) young men did marry; even within this restricted area, ’twas their wholesome way in life to form an attachment early with some nice girl in their own set, and to start at least with the idea of marrying her. Toward that goal they worked; for that end they endured and sacrificed many things. True, even then, the long engagement was the rule; but the long engagement itself meant some persistent impulse, some strong impetus marriage-wards. The desire of the man to make this woman his own, the longing to make this woman happy — normal and healthy endowments of our race — had still much driving-power. Nowadays, I seriously think I observe in most young men of the middle class around me a distinct and disastrous weakening of the impulse. They don’t fall in love as frankly, as honestly, as irretrievably as they use
d to do. They shilly-shally, they pick and choose, they discuss, they criticise. They say themselves these futile foolish things about the club, and the flat, and the cost of living. They believe in Malthus. Fancy a young man who believes in Malthus! They seem in no hurry at all to get married. But thirty or forty years ago, young men used to rush by blind instinct into the toils of matrimony — because they couldn’t help themselves. Such Laodicean luke-warmness betokens in the class which exhibits it a weakening of impulse. That weakening of impulse is really the thing we have to account for.
Young men of a certain type don’t marry, because — they are less of young men than formerly.
Wild animals in confinement seldom propagate their kind. Only a few caged birds will continue their species. Whatever upsets the balance of the organism, in an individual or a race tends first of all to affect the rate of reproduction. Civilise the red man, and he begins to decrease at once in numbers. Turn the Sandwich Islands into a trading community, and the native Hawaiian refuses forthwith to give hostages to fortune. Tahiti is dwindling. From the moment the Tasmanians were taken to Norfolk Island, not a single Tasmanian baby was born. The Jesuits made a model community of Paraguay; but they altered the habits of the Paraguayans so fast that the reverend fathers, who were, of course, themselves celibates, were compelled to take strenuous and even grotesque measures to prevent the complete and immediate extinction of their converts. Other cases in abundance I might quote an I would; but I limit myself to these. They suffice to exhibit the general principle involved; any grave upset in the conditions of life affects first and at once the fertility of a species.
“But colonists often increase with rapidity.” Ay, marry, do they, where the conditions of life are easy. At the present day most colonists go to fairly civilised regions; they are transported to their new home by steamboat and railway; they find for the most part more abundant provender and more wholesome surroundings than in their native country. There is no real upset. Better food and easier life, as Herbert Spencer has shown, result (other things equal) in increased fertility. His chapters on this subject in the “Principles of Biology” should be read by everybody who pretends to talk on questions of population. But in new and difficult colonies the increase is slight. Whatever compels greater wear and tear of the nervous system proves inimical to the reproductive function. The strain and stress of co-ordination with novel circumstances and novel relations affect most injuriously the organic balance. The African negro has long been accustomed to agricultural toil and to certain simple arts in his own country. Transported to the West Indies and the United States, he found life no harder than of old, if not, indeed, easier. He had abundant food, protection, security, a kind of labour for which he was well adapted. Instead of dying out, therefore, he was fruitful, and multiplied, and replenished the earth amazingly. But the Red Indian, caught blatant in the hunting stage, refused to be tamed, and could not swallow civilisation. He pined and dwined and decreased in his “reservations.” The change was too great, too abrupt, too brusque for him. The papoose before long became an extinct animal.
Is not the same thing true of the middle class of England? Civilisation and its works have come too quickly upon us. The strain and stress of correlating and co-ordinating the world we live in are getting too much for us. Railways, telegraphs, the penny post, the special edition, have played havoc at last with our nervous systems. We are always on the stretch, rushing and tearing perpetually. We bolt our breakfasts; we catch the train or ‘bus by the skin of our teeth, to rattle us into the City; we run down to Scotland or over to Paris on business; we lunch in London and dine in Glasgow, Belfast, or Calcutta. (Excuse imagination.) The tape clicks perpetually in our ears the last quotation in Eries; the telephone rings us up at inconvenient moments. Something is always happening somewhere to disturb our equanimity; we tear open the Times with feverish haste, to learn that Kimberleys or Jabez Balfour have fallen, that Matabeleland has been painted red, that shares have gone up, or gone down, or evaporated. Life is one turmoil of excitement and bustle. Financially, ’tis a series of dissolving views; personally ’tis a rush; socially, ’tis a mosaic of deftly-fitted engagements. Drop out one piece, and you can never replace it. You are full next week from Monday to Saturday — business all day, what calls itself pleasure (save the mark!) all evening. Poor old Leisure is dead. We hurry and scurry and flurry eternally. One whirl of work from morning till night: then dress and dine: one whirl of excitement from night till morning. A snap of troubled sleep, and again da capo. Not an hour, not a minute, we can call our own. A wire from a patient ill abed in Warwickshire! A wire from a client hard hit in Hansards! Endless editors asking for more copy! more copy! Alter to suit your own particular trade, and ’tis the life of all of us.
The first generation after Stephenson and the Rocket pulled through with it somehow. They inherited the sound constitutions of the men who sat on rustic seats in the gardens of the twenties. The second generation — that’s you and me — felt the strain of it more severely: new machines had come in to make life still more complicated: sixpenny telegrams, Bell and Edison, submarine cables, evening papers, perturbations pouring in from all sides incessantly; the suburbs growing, the hubbub increasing, Metropolitan railways, trams, bicycles, innumerable: but natheless we still endured, and presented the world all the same with a third generation. That third generation — ah me! there comes the pity of it! One fancies the impulse to marry and rear a family has wholly died out of it. It seems to have died out most in the class where the strain and stress are greatest. I don’t think young men of that class to-day have the same feelings towards women of their sort as formerly. Nobody, I trust, will mistake me for a reactionary: in most ways, the modern young man is a vast improvement on you and me at twenty-five. But I believe there is really among young men in towns less chivalry, less devotion, less romance than there used to be. That, I take it, is the true reason why young men don’t marry. With certain classes and in certain places a primitive instinct of our race has weakened. They say this weakening is accompanied in towns by an increase in sundry hateful and degrading vices. I don’t know if that is so; but at least one would expect it. Any enfeeblement of the normal and natural instinct of virility would show itself first in morbid aberrations. On that I say nothing. I only say this — that I think the present crisis in the English marriage market is due, not to clubs or the comfort of bachelor quarters, but to the cumulative effect of nervous over-excitement.
XV. EYE VERSUS EAR.
It is admitted on all hands by this time, I suppose, that the best way of learning is by eye, not by ear. Therefore the authorities that prescribe for us our education among all classes have decided that we shall learn by ear, not by eye. Which is just what one might expect from a vested interest.
Of course this superiority of sight over hearing is pre-eminently true of natural science — that is to say, of nine-tenths among the subjects worth learning by humanity. The only real way to learn geology, for example, is not to mug it up in a printed text-book, but to go into the field with a geologist’s hammer. The only real way to learn zoology and botany is not by reading a volume of natural history, but by collecting, dissecting, observing, preserving, and comparing specimens. Therefore, of course, natural science has never been a favourite study in the eyes of school-masters, who prefer those subjects which can be taught in a room to a row of boys on a bench, and who care a great deal less than nothing for any subject which isn’t “good to examine in.” Educational value and importance in after life have been sacrificed to the teacher’s ease and convenience, or to the readiness with which the pupil’s progress can be tested on paper. Not what is best to learn, but what is least trouble to teach in great squads to boys, forms the staple of our modern English education. They call it “education,” I observe in the papers, and I suppose we must fall in with that whim of the profession.
But even the subjects which belong by rights to the ear can nevertheless be taught by the eye more readily. E
verybody knows how much easier it is to get up the history and geography of a country when you are actually in it than when you are merely reading about it. It lives and moves before you. The places, the persons, the monuments, the events, all become real to you. Each illustrates each, and each tends to impress the other on the memory. Sight burns them into the brain without conscious effort. You can learn more of Egypt and of Egyptian history, culture, hieroglyphics, and language in a few short weeks at Luxor or Sakkarah than in a year at the Louvre and the British Museum. The Tombs of the Kings are worth many papyri. The mere sight of the temples and obelisks and monuments and inscriptions, in the places where their makers originally erected them, gives a sense of reality and interest to them all that no amount of study under alien conditions can possibly equal. We have all of us felt that the only place to observe Flemish art to the greatest advantage is at Ghent and Bruges and Brussels and Antwerp; just as the only place to learn Florentine art as it really was is at the Uffizi and the Bargello.
