Chapter 14

Another thing that presently comes painfully home to one is the lack of individuality among all these dead. Not a necessary lack of individuality so much as a deliberate avoidance of it. As one wanders along the steep, narrow pathways one is more and more profoundly impressed by the wholesale flavour of the mourning, the stereotyping of the monuments. The place is too modern for _memento mori_ and the hour-glass and the skull. Instead, Slap & Dash, that excellent firm of monumental masons, everywhere crave to be remembered. Truly, the firm of Slap & Dash have much to answer for among these graves, and they do not seem to be ashamed of it.

From one elevated point in this cemetery one can count more than a hundred urns, getting at last weary and confused with the receding multitude. The urn is not dissimilar to the domestic mantel ornament, and always a stony piece of textile fabric is feigned to be thrown over its shoulder. At times it is wreathed in stony flowers. The only variety is in the form. Sometimes your urn is broad and squat, a Silenus among urns; sometimes fragile and high-shouldered, like a slender old maid; here an "out-size" in urns stalwart and strong, and there a dwarf peeping quaintly from its wrapping. The obelisks, too, run through a long scale of size and refinement. But the curious man finds no hidden connection between the carriage of the monument and the character of the dead. Messrs. Slap & Dash apparently take the urn or obelisk that comes readiest to hand. One wonders dimly why mourners have this overwhelming proclivity for Messrs. Slap & Dash and their obelisk and urn.

The reason why the firm produces these articles may be guessed at. They are probably easy to make, and require scarcely any skill. The contemplative man has a dim vision of a grimy shed in a back street, where a human being passes dismally through life the while he chips out an unending succession of these cheap urns and obelisks for his employers' retailing. But the question why numberless people will profane the memory of their departed by these public advertisements of Slap & Dash, and their evil trade, is a more difficult problem. For surely nothing could be more unmeaning or more ungainly than the monumental urn, unless it be the monumental obelisk. The plain cross, by contrast, has the tenderest meaning, and is a simple and fitting monument that no repetition can stale.

The artistic cowardice of the English is perhaps the clue to the mystery. Your Englishman is always afraid to commit himself to criticism without the refuge of a _tu quoque_. He is covered dead, just as he is covered living, with the "correct thing." A respectable stock-in-trade is proffered him by the insinuating shopman, to whom it is our custom to go. He is told this is selling well, or that is much admired. Heaven defend that he should admire on his own account! He orders the stock urn or the stock slab because it is large and sufficiently expensive for his means and sorrow, and because he knows of nothing better. So we mourn as the stonemason decrees, or after the example and pattern of the Smiths next door. But some day it will dawn upon us that a little thought and a search after beauty are far more becoming than an order and a cheque to the nearest advertising tradesman. Or it may be we shall conclude that the anonymous peace of a grassy mould is better than his commercial brutalities, and so there will be an end of him.

One may go from end to end of this cemetery and find scarcely anything beautiful, appropriate, or tender. A lion, ill done, and yet to some degree impressive, lies complacently above a menagerie keeper, and near this is a tomb of some imagination, with reliefs of the life of Christ. In one place a grotesque horse, with a head disproportionately vast, is to be seen. Perhaps among all these monuments the one to Mrs. Blake is the most pleasing. It is a simply and quaintly executed kneeling figure, with a certain quiet and pathetic reverence of pose that is strangely restful against the serried vulgarity around it.

But the tradesman ghoul will not leave us; he follows us up and down, indecently clamouring his name and address, and at last turns our meditation to despair. Certain stock devices become as painful as popular autotypes. There is the lily broken on its stalk; we meet it here on a cross and there on an obelisk, presently on the pedestal of an urn. There is the hand pointing upward, here balanced on the top of an obelisk and there upon a cross. The white-robed angel, free from the remotest shadow of expression, meets us again and again. "All this is mine," says the tradesman ghoul. "Behold the names of me--Slap & Dash here, the Ugliness Company there, and this the work of the Cheap and Elegant Funeral Association. This is where we slew the art of sculpture. These are our trophies that sculpture is no more. All this marble might have been beautiful, all this sorrow might have been expressive, had it not been for us. See, this is our border, No. A 5, and our pedestal No. E, and our second quality urn, along of a nice appropriate text--a pretty combination and a cheap one. Or we can do it you better in border A 3, and pedestal C, and a larger urn or a hangel----"

The meditative man is seized with a dismal horror, and retreats to the gates. Even there a wooden advertisement grins broadly at him in his discomfiture, and shouts a name athwart his route. And so down the winding road to the valley, and then up Parliament Hill towards Hampstead and its breeze-whipped ponds. And the mind of him is full of a dim vision of days that have been, when sculptor and stonemason were one, when the artist put his work in the porch for all the world to see, when people had leisure to think how things should be done and heart to do them well, when there was beauty in the business of life and dignity in death. And he wonders rather hopelessly if people will ever rise up against these damnable tradesmen who ruin our arts, make our lives costly and dismal, and advertise, advertise even on our graves.

HOW I DIED

It is now ten years ago since I received my death warrant. All these ten years I have been, and I am, and shall be, I hope, for years yet, a Doomed Man. It only occurred to me yesterday that I had been dodging--missing rather than dodging--the common enemy for such a space of time. _Then_, I know, I respected him. It seemed he marched upon me, inexorable, irresistible; even at last I felt his grip upon me. I bowed in the shadow. And he passed. Ten years ago, and once since, he and I have been very near. But now he seems to me but a blind man, and we, with all our solemn folly of medicine and hygiene, but players in a game of Blind Man's Buff. The gaunt, familiar hand comes out suddenly, swiftly, this time surely? And it passes close to my shoulder; I hear someone near me cry, and it is over.... Another ream of paper; there is time at least for the Great Book still.

Very close to the tragedy of life is the comedy, brightest upon the very edge of the dark, and I remember now with a queer touch of sympathetic amusement my dear departed self of the middle eighties. How the thing staggered me! I was full of the vast ambition of youth; I was still at the age when death is quite out of sight, when life is still an interminable vista of years; and then suddenly, with a gout of blood upon my knuckle, with a queer familiar taste in my mouth, that cough which had been a bother became a tragedy, and this world that had been so solid grew faint and thin. I saw through it; saw his face near to my own; suddenly found him beside me, when I had been dreaming he was far beyond there, far away over the hills.

My first phase was an immense sorrow for myself. It was a purely selfish emotion. You see I had been saving myself up, denying myself half the pride of life and most of its indulgence, drilling myself like a drill-sergeant, with my eyes on those now unattainable hills. Had I known it was to end so soon, I should have planned everything so differently. I lay in bed mourning my truncated existence. Then presently the sorrow broadened. They were so sorry, so genuinely sorry for me. And they considered me so much now. I had this and that they would never have given me before--the stateliest bedding, the costliest food. I could feel from my bed the suddenly disorganised house, the distressed friends, the new-born solicitude. Insensibly a realisation of enhanced importance came to temper my regrets for my neglected sins. The lost world, that had seemed so brilliant and attractive, dwindled steadily as the days of my illness wore on. I thought more of the world's loss, and less of my own.

Then came the long journey; the princely style of it! the sudden awakening on the part of external humanity, which had hitherto been wont to jostle me, to help itself before me, to turn its back upon me, to my importance. "He has a diseased lung--cannot live long"....

I was going into the dark and I was not afraid--with ostentation. I still regard that, though now with scarcely so much gravity as heretofore, as a very magnificent period in my life. For nearly four months I was dying with immense dignity. Plutarch might have recorded it. I wrote--in touchingly unsteady pencil--to all my intimate friends, and indeed to many other people. I saw the littleness of hate and ambition. I forgave my enemies, and they were subdued and owned to it. How they must regret these admissions! I made many memorable remarks. This lasted, I say, nearly four months.

The medical profession, which had pronounced my death sentence, reiterated it steadily--has, indeed, done so now this ten years. Towards the end of those four months, however, dying lost its freshness for me. I began to detect a certain habitual quality in my service. I had exhausted all my memorable remarks upon the subject, and the strain began to tell upon all of us.

One day in the spring-time I crawled out alone, carefully wrapped, and with a stick, to look once more--perhaps for the last time--on sky and earth, and the first scattered skirmishers of the coming army of flowers. It was a day of soft wind, when the shadows of the clouds go sweeping over the hills. Quite casually I happened upon a girl clambering over a hedge, and her dress had caught in a bramble, and the chat was quite impromptu and most idyllic. I remember she had three or four wood anemones in her hand--"wind stars" she called them, and I thought it a pretty name. And we talked of this and that, with a light in our eyes, as young folks will.

I quite forgot I was a Doomed Man. I surprised myself walking home with a confident stride that jarred with the sudden recollection of my funereal circumstances. For a moment I tried in vain to think what it was had slipped my memory. Then it came, colourless and remote. "Oh! Death.... He's a Bore," I said; "I've done with him," and laughed to think of having done with him.

"And why not so?" said I.

THE END

_This book appeared some years ago at another price and in another form. The Publisher believes that its present guise will bring it within the reach of all and sundry, who, while delighting in the marriage of_ wit _with_ wisdom, _cannot complete the trilogy with the third desideratum of_ wealth.

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