Part 13
Field-Martin took off his head-covering and discovered his mistake. Finsen’s name was inside in small gold letters. He explained matters with the porter, and left the necessary directions for the exchange to be effected. Upstairs he ran into Slopkins.
“That chap Finsen was asking for you,” he remarked; “it seems you exchanged hats last night by mistake, and the porter thought possibly----”
“Who is Finsen?”
“You remember, he was talking so wonderfully last night about psychometry----”
“Oh, is _that_ Finsen?”
“Yes,” replied the other. “Interesting man, but a bit queer, you know. Gets melancholia and that sort of thing, I believe. It was only a week or two ago, don’t you remember, that he tried to drown himself?”
“Indeed,” said Field-Martin dryly, and went upstairs to look at the evening papers.
XXV
NEWS _v._ NOURISHMENT
The first thing I saw of him was the dome of his bald head and the strip of wandering black hair that strayed across it like a bit of seaweed left by an ebbing tide. The rest was hidden behind the opened newspaper which he devoured while waiting for his luncheon. He was a little man. I saw the tips of square boots with knobs on them projecting beneath the table, and later I noted that his nose was aquiline, and that he had large comfortable ears. He may have been something in a Forwarding Office; he was not spruce enough for banking or insurance circles. He read that evening edition as if the future of the race depended on it.
Then the girl, a lackadaisical, bird-like creature, brought his plate of “braised beef an’ carruts” swimming in thick brown gravy, and set it down with noisy clatter upon the marble table. He was so absorbed that the dishes came as a surprise; and as he looked up, startled, the paper descended softly upon the thick brown gravy. This was the first disaster; for when he lifted it to find his place the columns of print resembled a successful fly-paper. He looked round at everybody, bewildered. For the moment, however, I was so interested in the wandering strip of seaweed on his skull that I hardly noticed his efforts to free the newspaper, himself, his neighbours, and the cruet-stand from the adhesive entanglement of this portion of his luncheon. There was a sound of scattering--then the girl had somehow managed it for him with her grimy napkin. But that remnant of a tide forgotten, as I came to regard it, fascinated me. It strayed, lonely as a cloud; it was so admirably fastened down; the angle, curve, and general adjustment had been evidently chosen with so much care. Its “lie” upon that dome of silence had been calculated to a nicety, so that it should relieve with the best possible effect the open waste around it. It was like a mathematical problem. Only when his grave, dark eyes met mine did I realise that I was staring rudely.
But long before my own hurried luncheon came, the difficulties in which this stranger opposite was involved had fascinated me afresh. The contents of the now mutilated evening paper absorbed him to the point of positive conflict. It may have been the racing news, police reports, or a breach of promise case; it may have been some special article and leader, or it may have been merely advertisements, perhaps; I cannot say. But his efforts to read and eat at the same time made me wonder with a growing excitement for the final issue of the battle. Had I not been alone, I would have laid a bet--with odds, I think, against “braised beef an’ carruts.”
He did it all so gravely and so earnestly, aware of the claims of both contestants, yet determined to be conscientious. Determined he most certainly was. A man doing anything with all his heart is always interesting to watch, but a man solemnly doing two things at once wins admiration and respect as well. My sympathies went out to him. I longed to give him hints. And the only time my attention wandered from this contest between news and nourishment was when I watched that strip of lonely seaweed rise and fall, vanish and reappear, with the movement of his head in eating. The way it dived to meet the fork, then rose again to greet the paper, was like the motion of a swimmer among waves.
He arranged his sight so cleverly, dividing it in some swift, extraordinary manner, yet without squinting, between the occupants of the arena. An eye and a half on each alternately seemed to be the plan, the extra half left over being free to bring immediate first-aid when needed; but his mind, I felt, was really with the paper all along. The nourishment was pleasure, the news was duty. There was heroism in this little man.
He would heap his fork with a marvellously balanced pyramid of beef and carrots and bread, smear it over with thick gravy, top it with a dash of salt--all with one hand, this!--then leave it hovering above the plate while he looked back keenly at the paper, searching to find his place. For between mouthfuls he always lost his place. It distressed me till he found it again, my interest centred on the piled-up fork. But what distressed me even more was that every time he found it and shot an eye back again to the loaded implement--that pyramid tumbled! Three times out of four, at least, it dropped its burden in this way; and the look of weariness, surprise, and disappointment on his face at each collapse was almost more than I could bear--in silence. He looked at that fork as some men look at a dog--with mortified astonishment. “I’m surprised at you,” his expression said, “after all those years, too!” I longed to ask, “Why _did_ you add that carrot to the top? You might have known by this time----!” But his own expression said quite plainly, “I built you up so very carefully--all with one hand, too. You really _might_ have stayed!”
My own tension became too keen then for mere amusement. I found myself taking sides alternately with the beef and paper. I was conscious of a desire to steady the fork for him while he read, and then to guide it straight into his mouth. For it next became most painfully obvious that he rarely found the opening--at the first attempt. With that over-loaded, over-balanced fork, a dripping carrot perched on the apex of the pile, he jabbed successively his lower lip, his cheek, his chin, and once at least the tip of his nose, before the proper terminus was reached and delivery accomplished. Small beauty-spots of brown remained dotted here and there to mark the inaccuracy of his aim and the firmness of his persistence.
For he was so patient. Both jobs he did so thoroughly. I began to wonder if he did two things at once at other times as well: whether, for instance, he buttoned his collar with one hand while with the other he led that strip of seaweed into safety for the day’s adventure. Surely, it seemed, he must excel at those parlour tricks which involve patting the breast with one hand and rubbing it up and down with the other simultaneously. Something of the sort he surely practised. Although the way, with a piece of bread speared on his fork, he groped all round the table for the gravy that was cooling on his plate, made me question his absolute skill sometimes.
He was too absorbed to notice things around him. The stout, bespectacled woman, for instance, who sat beside him on the leather couch, might not have existed at all. The way she looked him up and down, hinting for more room, was utterly lost upon him. So was the way she moved her glass of steaming milk and her under-sized bananas to and fro to dodge the paper he constantly flapped beneath her very nose. He took far more than his proper share of space, and she clearly resented it most bitterly, yet was afraid to speak. The movements of her glass and fruit were like a game of chess: he played the stronger gambit and forced her moves. She sulked--and lost.
The girl came up and whisked his unfinished plate away, asking him with a sideways bend of the head, bird-like rather, if he wished to order anything else, and his face shot up above the edge of the paper as though she had interrupted him in the midst of a serious business transaction.
“Didn’t I order something, miss?” he was heard to inquire resentfully, one eye glued still to the sheet.
“Nothing not yet,” came the disinterested reply.
“Bring me sultana pudding hot--no, cold, I mean--with sauce, please,” he said, as if remembering some quotation learnt by heart--and down he plunged once more beneath that sea of print.
But with the arrival of the cold sultana pudding came the crisis of the battle. For the pudding was slippery. It stood on end amid its paste-like sauce, impatient of amateur attack, inviting more skill than evidently he possessed. He caught my warning eye once or twice upon him, but disregarded it. These whole-hearted people never take advice. Smothering the toppling form with sugar, he seized a fork and aimed; but, before striking, buried his eyes again in the paper. The shot flew wild. The pyramid of dough went slithering round the plate as though alive, scattering sauce upon the marble table. A second shot, delivered with impatience, took off the top and side. He speared the broken piece--still without looking up to direct it properly--gathered a little sauce and sugar on the way; then, flushed with success, the face turned sideways towards the paper, rushed recklessly for his mouth--and bit an empty fork. The load had slipped aside _en route_; or, rather, the paper, holding the best position in the field, had taken it prisoner. For it fell with a soft and sticky thud into the column nearest to his waistcoat. This time he _spooned_ it up, and for a little time after that he had success. The paper and the pudding ran neck and neck along the home-stretch. He read with absorbing interest; he ate without waste of attention. I watched him with amazement. This performance of a divided personality must be given somewhere every day at the luncheon hour. The mood of the afternoon hung probably upon its accomplishment without disaster. The pudding had dwindled to its last titbit without attempting further _ausflüge_, and his eyes had just begun to feast upon a freshly turned page of the newspaper, when, crash, bang--there came complete discomfiture.
Drunk with success, he made a violent misdirected shot. He had waited long for that titbit, had nursed it carefully, keeping a little pool of sauce and sugar especially for it, when this careless aim sent it flying off the plate several inches into the middle of the table. The woman with the milk and the banana gave a little scream--of indignation. He turned abruptly, noticing her presence for the first time. He realised that he had edged her almost off the couch. He also realised, with the other eye, that the bit of pudding lay beyond redemption or recapture. Several people were watching him. He could not possibly, without total loss of dignity, restore it to an edible condition. He shunted down the seat with the sideways movement of a penguin, quietly replaced the errant morsel on his plate, called for his bill, then waited resignedly with a sigh, a defeated man.
Our eyes met in that moment full and square across the room. “I told you so,” mine said; “you were too reckless with it.” But in his own there shone a look of misery and regret I shall not easily forget. For a single instant his face vanished behind the crumpled but victorious paper, to emerge, scarlet, a moment later with the strip of seaweed drawn out of its normal bed into an unaccustomed route towards one tilted eyebrow. In his distress the man had passed a hand absent-mindedly across his forehead. The woman, putting on her spectacles, eyed with relief his preparations for departure. He went. But he took the paper with him.
And through the window I caught my final glimpse of him as he climbed outside a passing omnibus. He was small and rotund. His eyes shone in a flushed and disappointed face. His coat-tails spread sideways in the wind. Like an irate and very swollen sparrow he looked, defeated in some wretched gutter combat, yet eager for more, and certain to return to the arena as long as life should last--about the luncheon hour.
XXVI
WIND
It is a curious reflection, though of course an obvious one, that wind in itself is--silent; and that only from the friction against objects set in its path comes the multiform music instantly associated with its name. The fact, too, that so potent a force should be both silent and invisible readily explains its common use as a simile, and a beautiful one, for Spirit. Like flame, that other exquisite simile of spirit, how clean it licks, how mysteriously it moves, how swiftly it penetrates! And so subtly linked are they that the one almost seems to produce the other--the swift hot winds that beat about a conflagration; the tongues of fire that follow a fanning draught--“the wind that blew the stars to flame!” True inspiration seems certainly born of this marriage of wind and fire. How singular--have you ever thought?--would be the impressions of a man to whom the motion of air, as wind, was unknown, when first he witnessed the phenomenon of a twenty-knot breeze. Imagine a people that knew not wind--how they would tremble to see the tree-tops bend; to hear the roar, the whispers, the sweet singing of all Nature about them for the first time; to know the sounds and movements of the myriad objects that but for wind would be silent and motionless from one year’s end to another! To me, it has always seemed that such a revelation might be far more wonderful than the first torrent of light that beats upon the eyes of a man who has been blind.
And so one comes to a further suggestive reflection: that objects all possess their own particular sound or voice that the winds love to set free; their essential note--that specific set of vibrations lying buried in their form--of which, as some curious doctrines of the old magic assert, their forms, indeed, are the visible expression. In this region--pondering the relation between sound and shape--the imagination may wander till it grows dizzy, for it leads very soon to the still more wonderful world where sound and colour spin their puzzling web, and the spiritual phenomena of music cry for further explanation. But, for the moment, let only the sound of wind be in our ears; for in wind, I think, there is a sweetness and a variety of music that no instruments invented by men have yet succeeded in approaching so far as sheer thrill and beauty are concerned.
Each lover of Nature knows, of course, the special voice of wind that most appeals to him--the sighing of pines, the shouting of oaks, the murmur of grasses, the whirring over a bare hillside, or the whistling about the corners of the streets--the variety is endless; and there can be no great interest in obtruding one’s own predilection. Only, to know this music thoroughly, to catch all the overtones and undertones that make it so wonderful, and to absorb its essential thrill and power, you must listen, not for minutes, but for hours. If you want to learn the secrets of the things themselves, betrayed in the varying response they give back to the winds that sweep or caress them, lie leisurely for hours at a time and--listen.
How, from the high desolation of mountain peaks it blows out--terror, yet from the sea of bearded grain calls with soft whispering sounds such as children use for their tales of mystery; from old buildings--the melancholy of all dead human passion, yet from the rigging of ships the abandon of wild and passionate adventure: wind, clapping its mighty hands among the flapping sails, or running with weary little feet among the ruined towers of broken habitations; sighing with long, gentle music over English lawns, or rushing, full of dreams, across vast prairies over-seas; kissing a garden into music, or blundering blind-eyed through dark London squares; racing with thoughts of ice down precipices and dropping, as through spaces of sleep, into little corners of oblivion in waste lands of loneliness and desolation, or sighing with almost human melody through the keyhole and down the farmhouse chimney.
From the curtained softness of the summer sky these viewless winds sift silently into the heart, to wake yearnings infinite. From some high attic window, perhaps, where you stand and watch, listen to that wind of sighs that rises, almost articulate with the pains and sorrows, the half-caught joys, too, from that crowded human world beneath the sea of roofs and tiles. Winds of desire, winds of hope, winds of fear and love. Ah! winds of all the spirit’s life and moods ... and, finally, the wind of Death! And wind down a wet and deserted London street, shouting its whistling song, its song of the triumphant desolation that has cleared the way for it of human obstruction--how it sings the music of magnificent poverty, of heavy luxury, and then of the loneliness bred by both! And you see some solitary figure battling forwards, and hear that curious whistling it makes over the dripping umbrella.... Ah! how _that_ wind summons pictures of courage in isolation, and of singing in a wilderness! “The wind bloweth where it listeth, and thou hearest the sound thereof, yet canst not tell whence it cometh nor whither it goeth” ... for wind is, indeed, of the nature of spirit, and its music, crowded with suggestion, as sometimes, too, with memory and association, is, in the true sense, magical.
“Where is thy soul? Thou liest i’ the wind and rain,” says the poetess to the “Beloved Dead”; and in another passage the sound of wind brings back for her the phantom face of the departed: “But who shall drive a mournful face from the sad winds about my door?” Shelley, more than any other, perhaps, loved wind and wind-voices, and has the most marvellous and subtle descriptions of it in his work. Though he so often speaks of the “viewless wind,” one cannot help thinking that in his imagination lay some mental picture of wind--in the terms of sight. He _saw_ the wind. For him it had colour as well as shape. He saw bright sylphs--spirits of air--which “star the winds with points of coloured light, as they rain through them,” and “wind-enchanted shapes of wandering mist” that for his inner vision were “snow-white and swift as wind nursed among lilies near a brimming stream.” And, alone among poets so far as I know, he had that delightful conception of solid, smooth surfaces of wind upon which it is possible to run and dance and sleep. His verse is alive with spirits “trampling the wind”; “trampling the slant winds on high with golden-sandalled feet”; or climbing the hills of wind that run up into the highest peaks of heaven. The “Witch of Atlas” not only rode “singing through the shoreless air,” but also “ran upon the platforms of the wind, and laughed to hear the fireballs roar behind.” And it is the Chorus in _Prometheus Unbound_ that so exquisitely “weaves the dance on the floor of the breeze.”
But for less gifted mortals there are certain effects of wind that seem to me to approach uncommonly close to actual sight, or at least to a point where one may imagine what wind _ought_ to look like. Watch the gusts of a northwest wind as they fall in rapid succession upon a standing field of high barley, beating the surface into long curved shadows that bring to mind Shelley’s “kindling within the strings of the waved air, Æolian modulations.” One can see the velvet touch of those soft, vast paws, and the immense stretch of the invisible footsteps that press the long stalks down and as suddenly sweep away and set them free again. And with the changing angle of the myriad yellow heads the colour also changes, till gradually there swims upon the mind the impression of some huge and shadowy image that flies above the field--some personal deity of wind, some djin of air. One almost sees the spirit of the wind....
It is fascinating, too, to stand opposite a slope of wooded mountains, near enough to distinguish the individual swing of each separate tree, yet far enough to note how the forest as a whole blows all one way--the way of the wind. Also--to hear the chord of sound as a whole, yet mark the different notes that pour out of the various trees composing it. In some such way--one wonders, perhaps!--the Spirit of God moves over the surface of men’s minds, each swinging apparently its own individual way, yet when seen in proper perspective, all moving the one way--_to Him_. And the voices of all these separate little stray winds--who shall describe them? Creep with me now out of the house among these Jura vineyards, and come up into the pine forests that encircle the village. Put your ear against that bosom of the soft dark woods where the wind is born--and listen! Find the words if you can----!
XXVII
PINES
All trees, doubtless, appeal in some measure to the sense of poetry, even in those who are not strictly speaking lovers of Nature; but the pine, for many, seems to have a message more vivid, more vital than the rest: as though it possessed some occult quality that speaks not merely to the imagination, or to the general love of Nature _per se_, but directly to the soul. The oak for strength, the ash for mystery, the birch for her feminine grace and so forth; but the pine, like a sharp sword, pierces straight through to that inner sense of beauty which accepts or rejects beyond all question of analysis. The personality of this “common” tree touches the same sense of wonder that is stirred by the presence of a human personality, strong beyond ordinary; and worship is ever subtly linked with wonder.
The analogy is interesting. The pine plants its roots where more showy trees faint and die; straight, strong, and sweet to the winds, it flourishes where only gorse, heather, and toughly obstinate things can live. Out of the rock, where there seems not earth enough to feed a violet, it lifts its sombre head undaunted; scorched by the sun, torn by the blast, peering into dreadful abysses, yet utterly fearless, and yielding so little that the elements must pluck it up by the roots before they can destroy it. Only lightning can break it. At a height above the sea that means death to other trees, it climbs singing, “rock-rooted, stretched athwart the vacancy”; and even when the main army halts, stragglers are always to be seen, leading forlorn hopes into the heart of desolation beyond. And if, amid the stress of conditions, it cannot look well, it is content to look ill, showing a dwarfed and stunted figure to the skies. Only then, ye elemental powers! what strength in the gnarled roots, what iron resistance in the twisted trunk, what dour endurance in the short, thick limbs! It assumes the attitude of the fighting animal, back to the wall.
High mountains are full of vivid pictures of this courage against Titanic odds. For the pine tree has the courage of its convictions--fine, simple, tenacious--as it has also that other quality of the strong soul: the power to stand alone. “Some say there is a precipice where _one_ vast pine is frozen to ruin o’er piles of snow and chasms of ice ’mid Alpine mountains.” No one who has canoed on Canadian lakes and seen those frequent rocky islets, each with its solitary pine, can have ignored that there is something strangely significant in the sight of that slender spire rising out of the heart of loneliness--something that thrills, and thrills deeply, into the region beyond words. Unsheltered, beneath wide skies, remote from its own kind, the tree stands there, splendid in its isolation, straight as a temple column and prepared for any shock. “Ein Fichtenbaum steht einsam,” of course--but there is more than the pathos of Heine’s poem in its unapproachable loneliness: there is the spiritual suggestion of personality--this upright, self-sufficing tree upon a rock, buffeted by winds and waves, asking no sympathy and dreading no possible fate. The picture, symbolic of the strong soul, conveys the inevitable parable.