Something of the splendour of St. Paul’s lies simply in its vast size, in its colourless serenity. Mind and body seem both to widen in this enclosure, to expand under this huge canopy where the light is neither daylight nor lamplight, but an ambiguous element something between the two. One window shakes down a broad green shaft; another tinges the flagstones beneath a cool, pale purple. There is space for each broad band of light to fall smoothly. Very large, very square, hollow-sounding, echoing with a perpetual shuffling and booming, the Cathedral is august in the extreme; but not in the least mysterious. Tombs heaped like majestic beds lie between the pillars. Here is the dignified reposing room to which great statesmen and men of action retire, robed in all their splendour, to accept the thanks and applause of their fellow-citizens. They still wear their stars and garters, their emblems of civic pomp and military pride. Their tombs are clean and comely.
No rust or stain has been allowed to spot them. Even Nelson looks a little smug. Even the contorted and agonised figure of John Donne, wrapped in the marble twists of his grave clothes, looks as if it had left the stonemason’s yard but yesterday. Yet it has stood here in its agony for three hundred years and has passed through the flames of the Fire of London. But death and the corruption of death are forbidden to enter. Here civic virtue and civic greatness are ensconced securely. True, a heavy bossed door has above it the legend that through the gate of death we pass to our joyful resurrection; but somehow the massive portals suggest that they open not upon fields of amaranth and moly where harps sound and heavenly choirs sing, but upon flights of marble steps that lead on to solemn council chambers and splendid halls, loud with trumpets and hung with banners. Effort and agony and ecstasy have no place in this majestic building.
No contrast could be greater than that between St. Paul’s and Westminster Abbey. Far from being spacious and serene, the Abbey is narrow and pointed, worn, restless and animated. One feels as it one had stepped from the democratic helter skelter, the hubbub and hum-drum of the street, into a brilliant assembly, a select society of men and women of the highest distinction. The company seems to be in full conclave. Gladstone starts forward and then Disraeli. From every corner, from every wall, somebody leans or listens or bends forward as if about to speak. The recumbent even seem to lie attentive, as if to rise next minute. Their hands nervously grasp their sceptres, their lips are compressed for a fleeting silence, their eyes lightly closed as if for a moments thought. These dead, it dead they are, have lived to the full. Their faces are worn, their noses high, their cheeks hollowed. Even the stone of the old columns seems rubbed and chafed by the intensity of the life that has been setting it all these centuries. Voice and organ vibrate wirily among :he chasings and intricacies of the roof. The fine fans of stone that spread themselves to make a ceiling seem like bare boughs withered of all their leaves and about to toss in the wintry gale. But their austerity is beautifully softened. Lights and shadows are changing and conflicting every moment. Blue, gold and violet pass, dappling, quickening, fading. The grey stone, ancient as it is, changes like a live thing under the incessant ripple of changing light.
Thus the Abbey is no place of death and rest; no reposing-room where the virtuous lie in state to receive the rewards of virtue. Is it, indeed, through their virtues that these dead have come here? Often they have been violent; they have been vicious. Often it is only the greatness of their birth that has exalted them. The Abbey is full of Kings and Queens, Dukes and Princes. The light falls upon gold coronets, and gold still lingers in the folds of ceremonial robes. Reds and yellows still blazon coats of arms and lions and unicorns. But it is full also of another and even more potent royalty. Here are the dead poets, still musing, still pondering, still questioning the meaning of existence. “Life is a jest and all things show it. I thought so once, and now I know it,” Gay laughs. Chaucer, Spenser, Dryden and the rest still seem to listen with all their faculties on the alert as the clean-shaven clergyman in his spick-and-span red-and-white robes intones for the millionth time the commands of the Bible. His voice rings ripely, authoritatively through the building, and if it were not irreverent one might suppose that Gladstone and Disraeli were about to put the statement just propounded — that children should honour their parents — to the vote. Everybody in this brilliant assembly has a mind and a will of his own. The Abbey is shot with high-pitched voices; its peace is broken by emphatic gestures and characteristic attitudes. Not an inch of its walls but speaks and claims and illustrates. Kings and Queens, poets and statesmen still act their parts and are not suffered to turn quietly to dust. Still in animated debate they rise above the flood and waste of average human life, with their fists clenched and their lips parted, with an orb in one hand, a sceptre in another, as if we had forced them to rise on our behalf and testify that human nature can now and then exalt itself above the hum-drum democratic disorder of the hurrying street. Arrested, transfixed, there they stand suffering a splendid crucifixion.
Where then can one go in London to find peace and the assurance that the dead sleep and are at rest? London, after all, is a city of tombs. But London nevertheless is a city in the full tide and race of human life. Even St. Clement Danes — that venerable pile planted in the mid-stream of the Strand — has been docked of all those peaceful perquisites — the weeping trees, the waving grasses that the humblest village church enjoys by right. Omnibuses and vans have long since shorn it of these dues. It stands, like an island, with only the narrowest rim of pavement to separate it from the sea. And moreover, St. Clement Danes has its duties to the living. As likely as not it is participating vociferously, stridently, with almost frantic joy, but hoarsely as if its tongue were rough with the rust of centuries, in the happiness of two living mortals. A wedding is in progress. All down the Strand St. Clement Danes roars its welcome to the bridegroom in tail coat and grey trousers; to the bridesmaids virginal in white; and finally to the bride herself whose car draws up to the porch, and out she steps and passes undulating with a flash of white finery into the inner gloom to make her marriage vows to the roar of omnibuses, while outside the pigeons, alarmed, sweep in circles, and Gladstone’s statue is crowded, like a rock with gulls, with nodding, waving, enthusiastic sightseers.
The only peaceful places in the whole city are perhaps those old graveyards which have become gardens and playgrounds. The tombstones no longer serve to mark the graves, but line the walls with their white tablets. Here and there a finely sculptured tomb plays the part of garden ornament. Flowers light up the turf, and there are benches under the trees for mothers and nursemaids to sit on, while the children bowl hoops and play hopscotch in safety. Here one might sit and read Pamela from cover to cover. Here one might drowse away the first days of spring or the last days of autumn without feeling too keenly the stir of youth or the sadness of old age. For here the dead sleep in peace, proving nothing, testifying nothing, claiming nothing save that we shall enjoy the peace that their old bones provide for us. Unreluctantly they have given up their human rights to separate names or peculiar virtues. But they have no cause for grievance. When the gardener plants his bulbs or sows his grass they flower again and spread the ground with green and elastic turf. Here mothers and nursemaids gossip; children play; and the old beggar, after eating his dinner from a paper bag, scatters crumbs to the sparrows. These garden graveyards are the most peaceful of our London sanctuaries and their dead the quietest.
THIS IS THE HOUSE OF COMMONS
OUTSIDE the House of Commons stand the statues of great statesmen, black and sleek and shiny as sea lions that have just risen from the water. And inside the Houses of Parliament, in those windy, echoing halls, where people are for ever passing and repassing, taking green cards from policemen, asking questions, staring, accosting members, trooping at the heels of schoolmasters, nodding and laughing and running messages and hurrying through swing doors with papers and attached cases and all the other emblems of business and haste — here, too, are statues — Gladstone, Granville, Lor
d John Russell — white statues, gazing from white eyes at the old scenes of stir and bustle in which, not so very long ago, they played their part.
There is nothing venerable or time-worn, or musical, or ceremonious here. A raucous voice bawling “The Speaker!” heralds the tramp of a plain democratic procession whose only pomp is provided by the mace and the Speaker’s wig and gown and gold badges of the head waiters. The raucous voice bawls again, “Hats off, Strangers!” upon which a number of dingy felt hats are flourished obediently and the head waiters bow from the middle downwards. That is all. And yet the bawling voice, the black gown, the tramp of feet on the stone, the mace and the dingy felt hats somehow suggest, better than scarlet and trumpets, that the Commons are taking their seats in their own House to proceed with the business of governing their own country. Vague though our history may be, we somehow feel that we common people won this right centuries ago, and have held it for centuries past, and the mace is our mace and the Speaker is our speaker and we have no need of trumpeters and gold and scarlet to usher our representative into our own House of Commons.
Certainly our own House of Commons from inside is not in the least noble or majestic or even dignified. It is as shiny and as ugly as any other moderate-sized public hall. The oak, of course, is grained yellow. The windows, of course, are painted with ugly coats of arms. The floor, of course, is laid with strips of red matting. The benches, of course, are covered with serviceable leather. Wherever one looks one says, “of course”. It is an untidy, informal-looking assembly. Sheets of white paper seem to be always fluttering to the floor. People are always coming in and out incessantly. Men are whispering and gossiping and cracking jokes over each others shoulders. The swing doors are perpetually swinging. Even the central island of control and dignity where the Speaker sits under his canopy, is a perching ground for casual members who seem to be taking a peep at the proceedings at their ease. Legs rest on the edge of the table where the mace lies suspended; and the secrets which repose in the two brass-hound chests on either side of the table are not immune from the prod of an occasional toe. Dipping and rising, moving and settling, the Commons remind one of a flock of birds settling on a stretch of ploughed land. They never alight for more than a few minutes; some are always flying off, others are always settling again. And from the flock rises the gabbling, the cawing, the croaking of a flock of birds, disputing merrily and with occasional vivacity over some seed, worm, or buried grain.
One has to say to oneself severely, “But this is the House of Commons. Here the destinies of the world are altered. Here Gladstone fought, and Palmerston and Disraeli. It is by these men that we are governed. We obey their orders every day of the year. Our purses are at their mercy. They decide how fast we shall drive our cars in Hyde Park; also whether we shall have war or peace.” But we have to remind ourselves; for to look at they do not differ much from other people. The standard of dress is perhaps rather high. We look down upon some of the glossiest top hats still to be seen in England. A magnificent scarlet buttonhole blazes here and there. Everybody has been well fed and given a good education doubtless. But what with their chatter and laughter, their high spirits, and impatience and irreverence, they are not a whit more judicious, or more dignified, or more respectable-looking than any other assembly of citizens met to debate parish business or give prizes for fat oxen. This is true; but after a time some curious difference makes itself suspected. We feel that the Commons is a body of a certain character; it has been in existence for a long time; it has its own laws and licences. It is irreverent in a way of its own; and so, presumably, reverent too in its own way. It has somehow a code of its own. People who disregard this code will be unmercifully chastened; those who are in accord with it will be easily condoned. But what it condemns and what it condones, only those who are in the secret of the House can say. All we can be sure of is that a secret there is. Perched up high as we are, under the rule of an official who follows the prevailing informality by crossing his legs and scribbling notes on his knee, we feel sure that nothing could be easier than to say the wrong thing, either with the wrong levity or the wrong seriousness, and that no assurance of virtue, genius, valour is here sure of success if something else — some indefinable quality — is omitted.
But how, one asks, remembering Parliament Square, are any of these competent, well-groomed gentlemen going to turn into statues? For Gladstone, for Pitt, or for Palmerston even, the transition was perfectly easy. But look at Mr. Baldwin — he has all the look of a country gentleman poking pigs; how is he going to mount a plinth and wrap himself decorously in a towel of black marble? No statue that did not render the shine of Sir Austen’s top hat could do justice to him. Mr. Henderson seems constitutionally opposed to the pallor and severity of marble. As he stands there answering questions his fair complexion flushes scarlet, and his yellow hair seems to have been sleeked down with a wet brush ten minutes ago. Sir William Jowitt, it is true, might, if one took off his spruce bow tie, sit to some sculptor for a bust much in the style of the Prince Consort. Ramsay MacDonald has “features,” as the photographers say, and could fill a marble chair in a public square without looking conspicuously ridiculous. But for the rest, the transition into marble is unthinkable. Mobile, irreverent, commonplace, snub-nosed, red-jowled, squires, lawyers, men of business — their prime quality, their enormous virtue lies surely in the fact that no more normal, average, decent-looking set of human beings could be found in the four kingdoms. The flashing eye, the arched brow, the nervous, sensitive hand — these would be unseemly and out of place here. The abnormal man would be pecked to death by all these cheerful sparrows. Look how irreverently they treat the Prime Minister himself. He has to submit to being questioned and cross-examined by a youth who seems to have rolled out of a punt on the river; or again to be heckled by a stubby little man who, to judge by his accent, must have been shovelling sugar into little blue bags behind a counter before he came to Westminster. Neither shows the least trace of fear or reverence. If the Prime Minister should one of these days turn into a statue, this apotheosis will not be reached here among the irreverent Commons.
All this time the fire of question and answer had popped and cracked incessantly; at last it stopped. The Secretary for Foreign Affairs rose, raised some typewritten sheets and read, clearly and firmly, a statement about some difficulty with Germany. He had seen the German Ambassador at the Foreign Office on Friday; he had said this, he had said that. He had crossed to Paris and seen M. Briand on Monday. They had agreed to this, they had suggested that. A plainer, a graver, a more business-like pronouncement could not be imagined. And as he spoke so directly, so firmly, a block of rough stone seemed to erect itself there on the Government benches. In other words, as one listened to the Secretary for Foreign Affairs endeavouring to guide our relations with Germany, it seemed clear that these ordinary-looking business-like men are responsible for acts which will remain when their red cheeks and top hats and check trousers are dust and ashes. Matters of great moment, which affect the happiness of people, the destinies of nations, are here at work chiselling and carving these very ordinary human beings. Down on this stuff of common humanity comes the stamp of a huge machine. And the machine itself and the man upon whom the stamp of the machine descends are both plain, featureless, impersonal.
Time was when the Foreign Secretary manipulated tacts, toyed with them, elaborated them, and used all the resources of art and eloquence to make them appear what he chose they should appear to the people who had to accept his will. He was no common hard-worked man of business, with a small car and a villa and a great longing to get an afternoon off and play golf with his sons and daughters on a Surrey common. The Minister was once dressed to fit his part. Fulminations, perorations shook the air. Men were persuaded, juggled with, played upon. Pitt thundered; Burke was sublime. Individuality was allowed to unfold itself. Now no single human being can withstand the pressure of human affairs. They sweep over him and obliterate him; they leave him featu
reless, anonymous, their instrument merely The conduct of affairs has passed from the hands of individuals to the hands of committees. Even committees can only guide them and hasten them and sweep them on to other committees. The intricacies and elegancies of personality are trappings that get in the way of business. The supreme need is despatch. A thousand ships come to anchor in the docks every week; how many thousand causes do not come daily to be decided in the House of Commons? Thus if statues are to be raised, they will become more and more monolithic, plain and featureless. They will cease to record Gladstone s collars, Dizzy’s curl and Palmerston’s wisp of straw. They will be like granite plinths set on the tops of moors to mark battles. The days of single men and personal power are over. Wit, invective, passion, are no longer called for. Mr. MacDonald is addressing not the small separate ears of his audience in the House of Commons, but men and women in factories, in shops, in farms on the veldt, in Indian villages. He is speaking to all men everywhere, not to us sitting here. Hence the clarity, the gravity, the plain impersonality of his statement. But if the days of the small separate statue are over, why should not the age of architecture dawn? That question asks itself as we leave the House of Commons. Westminster Hall raises its immense dignity as we pass out. Little men and women are moving soundlessly about the floor. They appear minute, perhaps pitiable; but also venerable and beautiful under the curve of the vast dome, under the perspective of the huge columns. One would rather like to be a small nameless animal in a vast cathedral. Let us rebuild the world then as a splendid hall; let us give up making statues and inscribing them with impossible virtues.
Complete Works of Virginia Woolf Page 354
