Up and Down

There are certain moments in one's life that are imperishably photographed on the mind, and will live there unblurred and unfaded till the end. I think the reason for this (when so much that seemed important at the time, constantly fades from one's memory) is that in some way, great or small, they mark the advent of a new perception, and this sense of enlightenment gives them their everlasting quality. They are thus more commonly associated with childish days, when discoveries are of more frequent occurrence than is the case in later years. Certainly now the smell of lilac is hugely significant to me because of that one moment when, at the exploring age of five, I was first consciously aware of it. It was time to go to bed, though the sunlight still lay level across the garden where we children played, and the nurse who had come to fetch us in, relented, and gave us five minutes' grace, the granting of which at that moment seemed to endow one with all that was really desirable in life. Simultaneously the evening breeze disentangled the web of fragrance from the lilac bush near which I stood, and cast it over me, so that, imperishable to this day, the scent of it is mixed up in my mind with a mood of ecstatic happiness. What went before that, what had been the history of the afternoon, or what was the history of the days that followed, has quite gone, but vignetted for ever for me is the smell of the lilac bush and the rapture of five minutes more play. The first conscious sight of the sea, lying grey and quiet beneath a low sky, is another such picture, and another such, I am sure, will be the sight of Francis's face as he stood there facing westwards, with the glow of molten clouds on it, and with the wind just stirring his hair, as he stood bare-headed, and spoke those last words. The memory of our walk that day may grow dim, much may get blurred and indistinct in my mind, but his face then, alight with joy, not solemn joy at all, but sheer human happiness, will live to me in the manner of the lilac-scent, and the first sight of the sea. It was new; never before had I seen so complete an exuberance, so unshadowed a bliss.

We returned to town next morning. Two days later he rejoined his regiment.

DECEMBER, 1915

Duty under a somewhat threadbare disguise of pleasure has the upper hand just now, in this energetic city, and we spend a large number of our afternoons each week seated in half-guinea and guinea stalls, and watch delightful entertainments at theatres or listen to concerts at private houses, got up for the benefit of some most deserving charity, and for the really opulent there are seats at three or five guineas. These entertainments are as delightful as they are long, and we have an opportunity two or three times a week of seeing the greater part of our prominent actors and actresses, and hearing the most accomplished singers and players on all or more than all of the musical instruments known to Nebuchadnezzar pour forth a practically endless stream of melody. Certainly it is a great pleasure to hear these delightful things, but, as I have said, it is really duty that prompts us to live for pleasure, for the pleasure, by incessant wear, is getting a little thin. We should not dream of spending so much on seats in theatres if we were not contributing to a cause. Often tea of the most elaborate and substantial style is thrown in, and thus our bodies as well as our minds are sumptuously catered for. Soon, I suppose, when we have once freed our minds from the nightmare of Zeppelins, we shall have these entertainments in the evening with dinner thrown in. The only little drawback connected with them is concerned with the matter of tickets. Naturally you do not want to go alone, and in consequence, when you are asked to take tickets you take two guinea ones if you are rich, and if not two half-guinea ones. There is no question of refusing. You have got to. But it is not so easy as you would imagine to get somebody to go with you to these perpetual feasts of histrionic and vocal talent, for everyone else has already taken two tickets, and is eagerly hunting for a companion at these entertainments on behalf of funds for Serbians, Russians, French, Italians, Red Cross, eggs for hospitals, smokes for sailors, soup kitchens, disabled horses, bandages, kit-bags, mine-sweepers, cough lozenges, for aeroplanists, woollen mufflers, and all the multifarious needs of those who are or have been taking a hand in the fight. Indeed, sometimes I think those entertainments are a little overdone, for a responsible admiral told me the other day that if any more woollen mufflers were sent to the fleet it would assuredly sink, which would be a very disastrous consequence of too ardent a spirit of charity. But till the fleet sinks under the woollies that are poured into it, and the kitchens are so flooded with soup as to be untenable, I suppose we shall continue to take two stalls and wildly hunt about for someone to occupy the second, between the hours of two and seven-thirty. But whether there is a theatrical entertainment or not on any particular day, it is sure to be a flag day. You need not buy two flags, though you have been obliged to take two stalls – until you have lost the first one. But it is as essential as breathing to buy one flag, if you propose to go out of doors at all, and on the whole it is wiser to buy your decoration from the first seller that you see. It is your ransom; the payment of this amiable blackmail ensures your unmolested passage through the streets. True, for a time, you can play a very pretty game which consists in crossing the street when you see a flag-seller imminent, and proceeding along the opposite pavement. Soon another flag-seller will be imminent there also, upon the approach of whom you cross back again to your original pavement. But sooner or later you are bound to be caught: a van or an omnibus obstructs the clear view of the other side of the street, and after being heavily splashed with mud from the roadway, you regain the pavement only to find there is another flag-seller who has been in ambush behind the 'bus that has splashed you. If you are urgently in need of exercise you can step back again before encountering the privateer, but you know that sooner or later you will have to buy a flag, and on the whole it is wiser to buy it at once, and take your exercise with an untroubled mind, and a small garish decoration in your buttonhole. The flag-sellers for the most part, are elegant young females, who appear to enjoy this unbridled licence to their pillaging propensities, and as long as they enjoy it, I suppose flag-days will go on. But it would be simpler and fairer to add a penny to the income-tax, and divide it in just proportions between these harpy charities. Or, if that is too involuntary a method of providing funds for admirable objects, I should suggest that every seller of flags, should, in return for the privilege of helping in such good causes, start her own collection-box with the donation of one sovereign from herself. Then the beleaguered foot-passenger would feel that he was giving to one who had the cause for which she worked really at heart.

Just as patriotism has become a feature in the streets, so the same motif has made its appearance in the realms of art, and at these entertainments of which I have spoken, there has sprung up a new form of dramatic and topical representation. Sometimes it takes the form of a skit, and the light side of committees is humorously put before us, but more often the author, with a deadlier and more serious aim, shows us in symbolical form the Sublimity of Patriotism. Somehow these elevating dramas make me blush. I am not ashamed of being patriotic, but I cannot bear to see patriotism set to slow music in front of the footlights, and in the presence of those blue-coated men with crutches or arms in slings. The general audience feel it too, and as the curtain goes up for the patriotic sketch, an uncomfortable fidgety silence invariably settles down on the house. The manner of the drama is usually somewhat in the following style:

Britannia, in scarlet with a gold crown, is seated in the centre of the stage, and on each side of her is a row of typical female figures, whom she addresses collectively as "Sisters" or "Children." In a few rhyming lines she gives vent to some noble sentiments about the war, and calls on each in turn to express her opinion. As these assembled females represent Faith, Hope, Belgium, Mother, Wife, Sweetheart, Serbia, Child, Justice, Mercy, Russia, Victory and Peace, a very pleasant variety of sentiments is expressed. Faith brandishes a sword with an ingenious arrangement by which electric lights spring out along the blade, and expresses complete confidence in the righteousness of the cause for which she unsheathed it. Hope looks forward to a bright dawn, and fixes her eyes dreamily on the Royal Box. Belgium, giving way to very proper emotion when she mentions Namur (rhyming to "poor"), sinks back on her chair, and Britannia, dismounting from her throne, lays a hand on her shoulder and kisses her hair. She then gives Belgium into the care of Faith, and dashing away a tear, resumes her throne, and asks Mother what she has to say. Mother and Wife then stand hand in hand and assure Britannia that they have sent their son and husband to the war because it was their duty to send him and his to go. Mother knows the righteousness of the cause. Faith crosses, presses the electric light, and with illuminated sword in hand, kisses Mother. Mother kisses Faith. Wife knows it too, and looks forward to the bright dawn of which Hope has spoken (Hope crosses and embraces Wife: momentary Tableau, accompanied on the orchestra by "Land of Hope and Glory." Britannia rises and bows to the audience).

When the applause has subsided, they resume, and Britannia calls on Sweetheart. Sweetheart trips out into the front of the stage, and goes through a little pantomime alone, but it is at once apparent that in her imagination there is a male figure there. There are little embracings: she promises the unseen figure not to cry any more, but to write to him (B.E.F.) every day.

Britannia calls her, "Brave girl."

Britannia (pointing to Child, with a voice already beginning to break with emotion): "And you, my little one?"

Long pause.

Child (in a high treble): "Oh, Mrs. Britannia, do let Daddy come home soon!" (Pause.) "Won't he come home soon, Mrs. Britannia?"

Britannia (choking): "My little one!" (Sobs.) "My little one!"

(Faith, Hope, Mother, etc., all turn aside and hide their faces, with convulsive movements of their shoulders. Eventually Hope looks firmly up at the Royal Box, and a loud click is heard as Faith tries to light the electric sword. As it is out of order, she merely holds it up. This is the cue for the play to proceed.)

Justice is rather fierce, and as she speaks about an eye for an eye and a tooth for a tooth, Britannia rises and with a majestic look sets her teeth and flashes her eyes. Mercy intervenes, telling Justice that they are sisters, Justice acknowledges the soft impeachment, and hides her head on Mercy's shoulder, who reminds her that the quality of Mercy is twice blest, which is very pleasant for her as she is Mercy.

Rolls of drum in the orchestra punctuate what Victory has to say, which is just as easily described as imagined, but is scarcely worth description. Then a soft smile irradiates Britannia's face, and she says:

"And now that Victory's won I call

The fairest sister of you all."

On which Peace advances and crowns Britannia with a green wreath, and a small stuffed pigeon descends from above Britannia's head and hovers. The curtain descends slowly to long soft chords on the orchestra. The applause of relief sounds faintly from various quarters of the house. The curtain instantly ascends again and shows the same picture. It goes up and down five or six times. Then it parts, and Britannia comes out and bows to the house. She smiles at someone behind the curtain, and extends her hand. A small man in a frock coat and an expression of abject misery comes out and clutches it. The audience come to the conclusion that he must be the author, and with the amiable idea of putting him out of his misery applaud again. On which Britannia advances a little to the left and again beckons behind the curtain. On which Child runs out, and (as previously instructed) after an alarmed survey of the house, hides its little face in the ample folds of Britannia's gown. Murmurs of sympathy. Britannia (who has a way with her) encourages the infant (who has done this fifty times before, and is really as brazen as brass) and points to the Royal Box. Child drops curtsy, amid more applause. Faith, Hope, Mother, Wife, History, Geography, Belgium, Peace, Mathematics, Victory, Suicide, Phlebotomy, Green Grocery and any other symbolical figures that there may be, join the group one by one. They all bow, the audience continues applauding: Faith (having mastered the unruly mechanism) lights up her sword. Peace holds aloft the Dove. Belgium's hair falls down…

The lights go up in the theatre, and guinea stall turns to guinea stall with a sigh.

"Oh, George Robey next," she says. "I hope he'll play golf."

Now I want to make my position clear. I think it wonderfully kind of all these eminent ladies to spend all this time and trouble in giving us this patriotic sketch. I think it wonderfully clever of the gentleman who wrote it to have made it all up, and thought of all those rhymes. I think every single sentiment expressed in his drama to be absolutely unexceptionable, and, as we hear from the pulpit, "True in the best sense of the word," without even inquiring what that cryptic utterance means. But there seems to me to be two weighty objections to the whole affair: it is all utterly devoid of the sense of humour and of the sense of decency. You may say that when treating of such deeply-felt matters as Faith and Victory and Mother and Child, a sense of humour would be out of place. I do not agree: it is the absence of the sense of humour that causes it to be so ridiculous. As for the propriety of presenting such things on the stage, I can only say that the Lord Chamberlain ought never to have allowed this and fifty other such pieces to appear, on grounds of indecent exposure. To present under such ruthless imagery the secret and holiest feelings of the heart is much worse than allowing people to appear with no clothes on. It is all true, too: there is its crowning horror. It is just because it is so sacredly true that it is totally unfit for public production. There are things you can't even talk about … and they are just these things that the author of this abomination has put into the mouths of these eminent actresses. And the bowings and the scrapings, and the return of the actors, all smiles to their friends in the audience… Oh, swiftly come, George Robey, and let us forget about it!

In this blear-eyed December, which, with its stuffy dark days and absence of sunshine, seems like some drowsy dormouse faintly conscious of being awake, and desiring only to be allowed to go to sleep again, there is an immense amount of activity going on. As in those ample entertainments for the sake of something, there is exhibited on the part of actors, authors and audience an intense desire to be doing something, so in the general life of the country there is a sense of being busy, being strenuous, doing work of some sort in order to experience the narcotic influence of occupation. The country is unhappy, and since England is a very practical country, it is stifling its spiritual unhappiness by being busy. It does things to prevent its thinking about things, and though it does very foolish things, it shows its common-sense in doing something rather than encourage its unhappiness by brooding over it. Herein, it shows its inherent vitality: were it less vital it would abandon itself to gloomy reflection. But it does not: it is tremendously busy, and so with set purpose deprives itself of the tendency to think. That is not very difficult, for, as a nation, we cannot be considered good at thinking.

Now considering that all action of whatever kind is the direct result of thought, it would seem at first sight, when we observe the amazing activities of most people, that these same people must think a great deal. But as a matter of fact, most people, so far from thinking a great deal, hardly think at all, and the greater part of their consistent activity is the result of mere habit. The baby, for instance, who is learning to walk, or the girl who is learning to knit, think immensely and absorbedly about these locomotive and involved accomplishments, just because they have not yet formed the habit of them. But a few years later, the baby who has become a man will give no thought at all to the act of walking and, indeed, to walk (the feat which once so engaged his mind), now sets his mind free to think, and he finds that problems which require to be thought out are assisted to their solution by the act that once required so much attention: similarly the grown-up woman often really talks and attends better to other things when she is engaged in knitting. The accomplishment has soaked in through the conscious to the sub-conscious self, and demands no direction from the practical mind.

It is on the lines of this analogy that we must explain the fact that many very active people are almost incapable of sustained or coherent thought. Many of their activities are matters of habit; they order dinner or look at a picture exhibition or argue about the war with no more thought than the man who walks or the woman who knits. They can be voluble about post-impressionism because at one time they acquired the habit of talking about it, and to do so now requires no more exercise of the reflective or critical qualities than does the ordering of a beef-steak pudding. Oh, if they argue about the war, most people have no original ideas of any kind on the subject: they mix round, as in an omelette, certain facts they have seen in the official telegrams, with certain reflections they have read in the leaders of their papers, and serve up, hot or cold, as their fancy dictates. But they do not think about it.

Thought, in fact, not merely abstract thought, but a far less difficult variety, namely, definite coherent thought about concrete things, is an extremely rare accomplishment among grown up people. We are often told that it is infinitely harder to learn anything when we are of mature age than when we are young, and this is quite true, the reason for it being that we now find it more difficult to think since we have so long relied on muddling along under the direction of habit. And even the people who think they think are not in most cases the real owners of their thoughts. They borrow their thoughts, as from a circulating library, and instead of owning them, return them slightly damaged at the end of a week or two, and borrow some more. They do not think for themselves: they stir about the stale thoughts of others and offer their insipid porridge as a home-industry.

This secondhand method of thinking is strangely characteristic of our race, in contradistinction to French and German methods of thought, and is admirably illustrated by the anecdote concerning the camel. An Englishman, a Frenchman and a German were bidden to write an essay on that melancholy beast, deriving their authorities from where they chose. The Englishman studied books of natural history at the British Museum, and when he had written an essay founded on them, went and shot a camel. The Frenchman took his hat and stick and went to the Jardin des Plantes, where he looked at a real camel, and subsequently had a ride or two on its back. But the German did none of these things: he consulted no authority, he looked at no camel, but shutting himself up in his study, he constructed one from his inner consciousness.

Now whether this offspring of mentality was like a real camel or not, history does not tell us. Probably it was not, any more than the new map of Europe planned by Prussian militarism will prove like the map of Europe as it will appear in the atlases published, let us say, in 1918. But even if the German camel was totally unrecognizable as such, its constructor had shown himself capable of entering on a higher plane of thought than is intelligible to the ordinary Englishman. The German, in fact, as we are beginning to learn, is able to sit down and think, and out of pure thought to build up an image. The English are excellent learners, quick to assimilate and apply what others have thought out, the French are vivid and keen observers, but neither have the power of sustained internal thought which characterizes the Teuton, who incidentally is quite the equal of the Englishman at learning and of the Frenchman at observation. The German, for instance, thought out the doctrine of submarine warfare, and to our grievous cost applied it to our shipping. Similarly they thought out the doctrine of trench warfare, supplemented by gas, then the French, with their marvellously quick powers of observation, saw and comprehended and applied. In fact, the two great German inventions conceived by them, and originally used by them, have been adopted and brought to a higher pitch of perfection by their adversaries. But if only any of our allied nations could pick up from them the power of concentrated and imaginative thought, for the root of the matter is imagination! We proverbially muddle through, and when occasion arises, by dint of a certain stubbornness and admirable stolidity, though pommelled and buffeted, eventually learn by experience a successful mode of resistance. But constitutionally, we appear incapable of initiating ideas. We cannot imagine an occasion, but can only meet the occasion when somebody else imagines it.

Of all the disappointments of this year this is the root. We cannot invent: we can only counter. We have not the power of constructive imagination, which is the mother and father of original actions. But when our adversaries indulge in original actions, we can (on occasion) think out an answer to them which is perfectly effective. We can resist and we can hit back when we are hit, but at present we have not shown that we are capable of imagining and dealing the first blow. Perhaps this may come, for it goes without saying that we were notoriously unready at the beginning of the war, and had our hands full and overfull with countering the blows that were rained on us. We were on the defensive and could barely maintain the defence, and could not possibly have collected that coiled force which is necessary for any offensive movement. But if after sixteen months of war we do not begin to show signs of it, it is reasonable to wonder whether the cause of this is not so much that we lack the battering power, but that our statesmen and our generals lack the imagination out of which original plans are made. True, there have been two original schemes, namely, that of forcing the Dardanelles and capturing Bagdad, and if these show the quality of our originality, perhaps we are better without it …

It is natural that the stress of war should have brought out the deep-rooted, inherent qualities of the nations engaged, and those qualities are just those that strike you first in a man of whatever nationality. When you know him a little better, you think you detect all sorts of other qualities, but when you come really to know him – singly or collectively – he is usually just such as you first thought him to be. Indeed, it is as Francis said about the orange: the rind has the savour of the fruit within, between the two there is a layer of soft, pulpy stuff. But when you get through that, the man, the essential person is like the taste of the rind. This has been immensely true with regard to the war. On the surface the French strike anyone who comes in contact with them as full of admirable fervour: there is the strong, sharp odour about them, there is a savour that penetrates. Then you get to know them just a little better, and you find a woolly and casual touch about them, which you, in your ignorance born out of a little knowledge, take to be the real spirit of the French. But when intimate acquaintance, or the stripping of the surface takes place, how you must alter your estimate again, going back to your first impression. You meet the fervour, the strong sharp odour again, and it goes into the heart of the nation. The Frenchman is apt on first acquaintance to seem too genuine, too patriotically French to be real. But when you get within, when the stress of war has revealed the nation and shown the strong beating of its heart, how the fervour and the intensity of savour persist! What you thought was superficial you find to be the quality that dwells in the innermost. He will easily talk about La France and La gloire when you first get acquainted with him, but when he stands revealed you find that he talks about it easily because it is the spring and source of his being.