The Arena. Volume 4, No. 21, August, 1891

It is not to be supposed that the writer and subject of this present paper resides in semi-royal state in one of these magnificent old houses. On the contrary, she lives, and has lived for more than a quarter of a century, with a very dear friend, in a small, irregularly built house, which together they have from time to time enlarged and improved, according to their pleasure. That friend—now in her eighty-seventh year—used, in days long gone by, to gather round her table many of the wits and celebrities of fifty years ago; but for her, as for myself, our little country home has been as dear for its seclusion as for the charm of its neighborhood.

The Larches stands, with some few other houses of like dimensions, on a space of high-level ground to the eastward of the village. It is approached by a narrow lane, beyond which lie fields and open country. Having at first been quite a small cottage, it has been added to by successive owners, and is, consequently, quite destitute of external or internal uniformity. My own library, and the bedrooms above it, are, for the present, the latest additions to the structure; though I hope some day to build on a little room which I shall not venture to call a museum, but which shall contain my Egyptian antiquities and other collections.

The little house stands in one acre of ground, closely walled in, and surrounded by high shrubs and lofty larch trees. It is up and down a straight path in the shade of these larch trees that I take my daily exercise; and if I am to enter into such minor particulars as are dear to the writers and readers of “At Home” articles, I may mention that a dial-register is affixed to the wall of a small grape-house at one end of this path, by means of which I measure off my regular half-mile before breakfast, my half mile after breakfast, and the mile or more with which I finish up my pedestrian duties in the late afternoon. To walk these two miles per diem is a Draconian law which I impose upon myself during all seasons of the year. When the snow lies deep in winter, it is our old gardener’s first duty in the morning to sweep “Miss Edwards’ path,” as well as to clear two or three large spaces on the lawn, in which the wild birds may be fed. The wild birds, I should add, are our intimate friends and perennial visitors, for whom we keep an open table d’hôte throughout the year. By feeding them in summer we lose less fruit than our neighbors; and by feeding them in winter we preserve the lives of our little summer friends, whose songs are the delight of ourselves and our neighbors in the springtime. There are dozens of nests every summer in the ivy which clusters thickly around my library windows; and we even carry our hospitality so far as to erect small rows of model lodging-houses for our birds high up under the eaves, which they inhabit in winter, and in which many couples of sparrows and starlings rear their young throughout the summer.

We will now leave the garden, and go into the house, which stands high on a grassy platform facing the sunny west. We enter by a wooden porch, which, as I write, is thickly covered with roses. As soon as the front door is opened, the incoming visitor finds himself in the midst of modern Egypt, the walls of the hall being lined with Damascus tiles and Cairene woodwork, the spoils of some of those Meshrabeeyeh windows which are so fast disappearing both in Alexandria and Cairo. In a recess opposite the door stands a fine old chair inlaid with ivory and various colored woods, which some two hundred years ago was the Episcopal chair of a Coptic bishop. The rest of the hall furniture is of Egyptian inlaid work. Every available inch of space on the walls is filled and over-filled with curiosities of all descriptions. On one bracket stand an old Italian ewer and plate in wrought brass work; on another, a Nile “Kulleh” or water bottle, and a pair of cups of unbaked clay; on others again, jars and pots of Indian, Morocco, Japanese, Siût, and Algerian ware. Here also, are a couple of funerary tablets in carved limestone, of ancient Egyptian work; a fragment of limestone cornice from the ruins of Naukratis; and various specimens of Majolica, old Wedgewood, and other ware, as well as framed specimens of Rhodian and Damascus tiles.

If my visitor is admitted at all, which for reasons which I will presently state is extremely doubtful, he passes through the hall, leaving the dining-room to his right and the drawing-room to his left, and is ushered along a passage, also lined with lattice-work, through a little ante-room, and into my library. This is a fair-sized room with a bay of three windows at the upper end facing eastward. My writing-table is placed somewhat near this window; and here I sit with my back to the light facing whomsoever may be shown into the room.

Sitting thus at my desk, the room to me is full of reminiscences of many friends and many places. The walls are lined with glazed bookcases containing the volumes which I have been slowly amassing from the time I was fourteen or fifteen years of age. I cast my eyes round the shelves, and I recognize in their contents the different lines of study which I have pursued at different periods of my life. Like the geological strata in the side of a cliff, they show the deposits of successive periods, and remind me, not only of the changes which my own literary tastes have undergone, but also of the various literary undertakings in which I have been from time to time engaged. The shelves devoted to the British poets carry me back to a time when I read them straight through without a break, from Chaucer to Tennyson. A large number of histories of England and works of British biography are due to a time when I was chiefly occupied in writing the letterpress to “The Photographic Historical Portrait Gallery,”—a very beautiful publication illustrated with photographs of historical miniatures, which never reached a second volume, and is now, I believe, extremely scarce. An equally voluminous series of histories of Greece and Rome, and of translations of the Greek and Latin poets, marks the time when I first became deeply interested in classic antiquity. To this phase also belong the beginnings of those archæological works which I have of late years accumulated almost to the exclusion of all other books, as well as my collection of volumes upon Homer, which nearly fill one division of a bookcase. When I left London some six and twenty years ago to settle at Westbury-on-Trym, I also added to my library a large number of works on the fine arts, feeling, as every lover of pictures must do, that it is necessary, in some way or another, to make up for the loss of the National Gallery, the South Kensington Museum, and other delightful places which I was leaving behind. At this time, also, I had a passion for Turner, and eagerly collected his engraved works, of which I believe I possess nearly all. I think I may say the same of Samuel Prout. Of Shakespeare I have almost as many editions as I have translations of Homer; and of European histories, works of reference generally, a writer who lives in the country must, of course, possess a goodly number. Of rare books I do not pretend to have many. A single shelf contains a few good old works, including a fine black-letter Chaucer, the Venetian Dante of 1578, and some fine examples of the Elizabethan period. I soon found, however, that this taste was far too expensive to cultivate. Last of all, in what I may call the upper Egyptological stratum of my books, come those on Egypt and Egyptian archæology, a class of works deeply interesting to those who make Egyptology their study, but profoundly dull to everybody else.

Such are my books. If, however, I were to show my visitor what I consider my choicest treasures, I should take down volumes which have been given to me by friends, some now far distant, others departed. Here, for instance, is the folio edition of Doré’s “Don Quichotte,” on the fly-leaf of which he signs himself as my “ami affectueux;” or some of the works of my dear friend of many years, John Addington Symonds, especially “Many Moods,” which he has dedicated to myself. Or I would take down the first volume of “The Ring and the Book,” containing a delightful inscription from the pen of Robert Browning; or the late Lord Lytton’s version of the Odes of Horace, in which is inserted an interesting letter on the method and spirit of his translation, addressed to me at the time of its publication. Next to this stands a presentation copy of Sir Theodore Martin’s translation of the same immortal poems. To most persons these would be more interesting than other and later presentation volumes from various foreign savants—Maspero, Naville, Ebers, Wiedemann, and others.

I am often asked how many books I possess, and I can only reply that I have not the least idea, having lost count of them for many years. Those which are in sight are attired in purple and fine linen, beautiful bindings having once upon a time been one of my hobbies; but behind the beautiful bindings, many of which were executed from my own designs, are other books in modest cloth and paper wrappers; so that the volumes are always two rows, and sometimes even three rows deep. If I had not a tolerably good memory, I should certainly be very much perplexed by this arrangement, the more especially as my only catalogue is in my head.

I fear I am allowing myself to say too much about my books; yet, after all, they represent a large part of myself. My life, since I have lived at The Larches, has been one of ever-increasing seclusion, and my books have for many years been my daily companions, teachers, and friends. Merely to lean back in one’s chair now and then—merely to lean back and look at them—is a pleasure, a stimulus, and in some sense a gain. For, as it seems to me, there is a virtue which goes out from even the backs of one’s books; and though to glance along the shelves without taking down a single volume be but a Barmecide feast, yet the tired brain is consciously refreshed by it.

Although the room is essentially a bookroom, there are other things than books to which one can turn for a momentary change of thought. In yonder corner, for instance, stands an easel, the picture upon which is constantly changed. To-day, it will be a water-color sketch by John Lewis; to-morrow, an etching by Albert Dürer or Seymour Haden; the next day, an oil painting by Elihu Vedder, or perhaps an ancient Egyptian funerary papyrus, with curious pen-and-ink vignettes of gods and genii surmounting the closely written columns of hieroglyphic text.

For, you see, I have no wall space in my library upon which to hang pictures; and yet, I am not happy, and my thoughts are not rightly in tune, unless I have a picture or two in sight, somewhere about the room. In the corners, hidden away behind pedestals and curtains, a quick eye may detect stacks of pictures, ready to be brought out and put on the easel when needed. On the pedestals stand plaster casts of busts from antique originals in the Louvre, the Uffizzi Gallery, and the British Museum; and yonder, beside the arched entrance between the ante-room and the library, stands a small white marble torso of a semi-recumbent river god which I picked up years ago from amid the dusty stores of a little curiosity-shop in one of the small by-streets near Soho Square. It is a splendid fragment, so powerfully and learnedly modelled, that no less a critic than the late Charles Blanc once suggested to me that it might be a trial-sketch by a pupil of Michael Angelo, or even by the master himself. Curiously enough, this little masterpiece, which has lost both arms from below the shoulders and both legs from above the knee, was wrecked before its completion; the face, the beard, the hair and the back being little more than blocked out, whereas, the forepart of the trunk is highly finished. On the opposite side of the archway, in an iron tripod, stands a large terra-cotta amphora found in the cellar of a Roman villa discovered in 1872, close behind the Baths of Caracalla.

As I happened to be spending that winter in Rome, I went, of course, to see the new “scavo,” and there were the big jars standing in the cellar, just as in the lifetime of the ancient owner. I need scarcely say that I bought mine on the spot.

It is such associations as these which are the collector’s greatest pleasures. Each object recalls the place and circumstances of its purchase, brings back incidents of foreign travel, and opens up long vistas of delightful memories. For me, every bit of old pottery on the tops of the bookcases has its history. That Majolica jar painted with the Medici arms, and those Montelupo plates, were bought in Florence; those brass salvers with heads of Doges in repoussé work were picked up in a dark old shop on one of the side canals of Venice. The tall jars, yellow, green, white, and brown, with grotesque dragon mouths and twisted handles, are of Gallipoli make, and I got them at a shop in an out-of-the-way court at the top of a blind alley in Stamboul.

I have said that there are reasons why an intending visitor might, perchance, fail to penetrate as far as this den of books and bric-à-brac, and I might allege a considerable number, but they may all be summed up in the one deplorable fact that there are but twenty-four hours to the day, and seven days to the week. Time is precious to me, and leisure is a thing unknown. If, however, the said visitor is of congenial tastes, has gained admittance, and finds me less busy than usual, he will, perhaps, be let into the secret of certain hidden treasures, the existence of which is unsuspected by the casual caller. For dearer to me than all the rest of my curios are my Egyptian antiquities; and of these, strange to say, though none of them are in sight, I have enough to stock a modest little museum. Stowed away in all kinds of nooks and corners, in upstairs cupboards, in boxes, drawers, and cases innumerable, behind books, and invading the sanctity of glass closets and wardrobes, are hundreds, nay, thousands, of those fascinating objects in bronze and glazed ware, in carved wood and ivory, in glass, and pottery, and sculptured stone, which are the delight of archæologists and collectors. Here, for instance, behind the “Revue Archeologique” packed side by side as closely as figs in a box, are all the gods of Egypt,—fantastic little porcelain figures plumed and horned, bird-headed, animal-headed, and the like. Their reign, it is true, may be over in the Valley of the Nile, but in me they still have a fervent adorer. Were I inclined to worship them with due antique ceremonial, there are two libation tables in one of the attics ready to my hand, carved with semblances of sacrificial meats and drinks; or here, in a tin box behind the “Retrospective Review,” are specimens of actual food offerings deposited three thousand years ago in various tombs at Thebes—shrivelled dates, lentils, nuts, and even a slice of bread. Rings, necklaces, bracelets, earrings, amulets, mirrors, and toilet objects, once the delight of dusky beauties long since embalmed and forgotten; funerary statuettes, scarabs, rolls of mummy cloth, and the like are laid by “in a sacred gloom” from which they are rarely, if ever, brought forth into the light of day. And there are stranger things than these,—fragments of spiced and bituminized humanity to be shown to visitors who are not nervous, nor given to midnight terrors. Here is a baby’s foot (some mother cried over it once) in the Japanese cabinet in the ante-room. There are three mummied hands behind “Allibone’s Dictionary of English Authors,” in the library. There are two arms with hands complete—the one almost black, the other singularly fair,—in a drawer in my dressing-room; and grimmest of all, I have the heads of two ancient Egyptians in a wardrobe in my bedroom, who, perhaps, talk to each other in the watches of the night, when I am sound asleep. As, however, I am not writing a catalogue of my collection, I will only mention that there is a somewhat battered statue of a Prince of Kush standing upright in his packing-case, like a sentry in a sentry-box, in an empty coach-house at the bottom of the garden.

It may, perhaps, be objected to my treatment of this subject that I have described only my “home,” and that, being myself, I have not described Miss Edwards. This is a task which I cannot pretend to perform in a manner satisfactory either to myself or the reader. My personal appearance has, however, been so fully depicted in the columns of some hundreds of newspapers, that I have but to draw upon the descriptions given by my brethren of the press, in order to fill what would otherwise be an inevitable gap in the present article. By one, for instance, I am said to have “coal-black hair and flashing black eyes”; by another, that same hair is said to be “snow-white”; while a third describes it as “iron-gray, and rolled back in a large wave.” On one occasion, as I am informed, I had “a commanding and Cassandra-like presence”; elsewhere, I was “tall, slender, and engaging”; and occasionally I am merely of “middle height” and, alas! “somewhat inclined to embonpoint.” As it is obviously so easy to realize what I am like from the foregoing data, I need say no more on the subject.

With regard to “my manners and customs” and the course of my daily life, there is little or nothing to tell. I am essentially a worker, and a hard worker, and this I have been since my early girlhood. When I am asked what are my working hours, I reply:—“All the time when I am not either sitting at meals, taking exercise, or sleeping”; and this is literally true. I live with the pen in my hand, not only from morning till night, but sometimes from night till morning. I have, in fact, been a night bird ever since I came out of the schoolroom, when I habitually sat up reading till long past midnight. Later on, when I adopted literature as a profession, I still found that “To steal a few hours from the night” was to ensure the quietest time, and the pleasantest, for pen and brain work; and, for at least the last twenty-five years, I have rarely put out my lamp before two or three in the morning. Occasionally, when work presses and a manuscript has to be despatched by the earliest morning mail, I remain at my desk the whole night through; and I can with certainty say that the last chapter of every book I have ever written has been finished at early morning. In summertime, it is certainly delightful to draw up the blinds and complete in sunlight a task begun when the lamps were lighted in the evening.

And this reminds me of a little incident—too trivial, perhaps, to be worth recording—which befell me so long ago as 1873. I had visited the Dolomites during the previous summer, not returning to England till close upon Christmastime, and I had been occupied during the greater part of the spring in preparing that account of the journey entitled “Untrodden Peaks and Unfrequented Valleys.” Time ran somewhat short towards the last, as my publishers were anxious to produce the volume early in June; and when it came to the point of finishing off, I sat up all through one beautiful night in May, till the farewell words were written. At the very moment when, with a sigh of satisfaction, I laid down my pen, a wandering nightingale on the pear-tree outside my library window, burst into such a flood of song as I have never heard before or since. The pear-tree was in full blossom; the sky behind it was blue and cloudless; and as I listened to the unwonted music, I could not help thinking that, had I been a pious scribe of the Middle Ages who had just finished a laboriously written life of some departed saint, I should inevitably have believed that the bird was a ghostly messenger sent by the good saint himself to congratulate me upon the completion of my task.

THE TYRANNY OF NATIONALISM. 12

BY M. J. SAVAGE

It is a somewhat curious task to which I find myself set. To go on with it may be to lay myself open to censure on the part of the “Society for the Prevention of Cruelty to Animals.” What would have been thought of the famous Davy Crockett, if he had fired his gun after the coon had said, “Don’t shoot, for I will come right down”? But the Rev. Francis Bellamy “comes right down” before anybody is in sight with a gun at all. He argues, indeed, in favor of nationalism; but, before he begins, he whispers to you, confidentially, that he is not much of a nationalist after all. Like Bottom, in “Midsummer Night’s Dream,” he is anxious not to scare anybody, and so lets out the secret that he is not a “truly” lion, but is only “taking the part.” In effect he tells the audience that “I will roar you as gently as a sucking dove.”

Let us see, from his own words, how much of a nationalist, and what kind of a one he really is. “It is not without some question, however, that I accept the generous challenge.” (That is, to reply to the editor of The Arena.) “For I am not sure that I myself believe in the military type of socialism which the editor seems continually to have in mind. The book (‘Looking Backward’) which, more than all others combined, has brought socialism before American thought, has also furnished to its opponents a splendidly clear target in its military organization. It cannot be repeated too often, however, that the army type is not conceded by socialists to be an essential, even if nationalistic, socialism.”

Later on, speaking of “the hostile critics,” he says: “They delight to picture the superb riot of corruption, if nationalists could have their way at once. They will never listen, they will never remember, while nationalists declare they would not have their way at once if they could. A catastrophe by which nationalistic socialism might be precipitated would be a deplorable disaster to human progress.”

Later still, he brings out the idea that all he seeks is to begin, in a small way, with towns and cities, and see how it works.

And once more he declares, “We certainly want no nationalism that is not an orderly development.” … “Nationalism is only a prophecy. It is too distant to be certainly detailed.” (“For this relief, much thanks!”) … “We may be inspired by it as the end towards which present movements are tending. But each age solves its own problems; and the passage into the promised land is the issue for another generation. A nearer view alone can determine where the passage is, and whether the land is truly desirable….

“Meantime, what our people must vote upon in the present year of grace is whether great private corporations shall control legislatures and city councils, and charge their own unquestioned prices for such public necessities of life as light and transit…. The future is in the hands of evolution.”

This latter paragraph challenges and receives my most unbounded admiration. It is one of the neatest changes of base I ever witnessed. I have seen remarkable feats performed by the prestidigitateur on the stage; but they were clumsy compared with this. I thought it was nationalism I was looking at. But, “presto, change!” I look again, and the only thing visible is the question as to “whether great private corporations shall control legislatures and city councils, and charge their own unquestioned prices for such public necessities as light and transit.” I was looking for the “garden of Eden,” the “kingdom of heaven,” the “promised land,” or, at the very least, the fulfilment of Mr. Edward Bellamy’s dream of a Boston with poverty gone and everybody happy, and lo! I am put off with economical electric lights and cheaper street cars! To be sure, these latter are not to be despised; but when one, like More’s “Peri at the Gate,” has been looking into heaven, even free street lights and street cars are a disappointment!

But however disappointed we may be, let us turn and seriously face the situation. The Rev. Francis Bellamy is not at all sure that he is in favor of his brother’s kind of nationalism. And yet, the kind and method were the only peculiar and distinctive things in his brother’s book. Dreams are old and common; but when this book appeared, people shouted “Eureka! We have found the way. This is the fulfilment of our dreams!” Now we are told, on authority, that it is not. And we are just where we were before.

People may suffer from a vague discontent for any number of years, while yet they do no more than complain and wish they were more comfortable. So, for example, the farmers have been doing. But, so long as they go no further, there is no definite “cause” either to uphold or oppose. But, when they call a national convention and construct a platform, announcing definite aims and methods, then there is something to talk about. Now, a man is either for or against “The Farmers’ Alliance.” Of course, he may be profoundly interested in the farmers’ welfare, and yet oppose their aims and methods, because he does not believe that real help can come in the way that they, at present, propose. But, until some plan is proposed, there can hardly be said to be any farmers’ movement at all.