Part 13

Francis told me that day how he had attained to where he stood. It was by no vague inactive passivity, but by stern and unremitting training of the mind and spirit. He had learned by hard work, first of all, to concentrate his mind on some given concrete object, to the exclusion of all other objects, forcing himself, as he put it, "to flow into this one thing." By slow degrees he had so cultivated this power that he was able at last to be conscious of nothing else than that on which he fixed his attention, making all his faculties of perception concentrate upon it. One of the objects of his meditation had often been the stone-pine in our garden at Alatri, and "opening himself to it," as he said, he saw it not only as it was in shape and form, but into his mind were conveyed its whole nature and formation; not by imagining them, so it seemed to him, for himself, but by receiving suggestions from outside. He felt it growing from the pine-seed of a cone that had dropped there; he felt it as a sapling, and knew how its roots were groping their ways underground, one to the north, another to the south, to anchor it from the stress of winds. He felt the word go forth among the spiders and creeping things that here was a new city a-building for their habitations. Out of the sapling stage it passed into mature life, and stripped itself of its lower branches, concentrating its energy on its crown of foliage. The soft sappy bark hardened itself to resist the rains, the roots spread further and further, and burrowed more deeply: the murmur of sea began to nest in its branches, and its shadow spread like a pool around it. It grew fruitful with cones that opened themselves so that its seed might ripen; it became a town of fertility. All this came, not student-wise, but from eager meditation, a vision evoked not from within, but seen through the open windows of his mind. A new mode of sight dawned on him.

From meditation on concrete and visible things he passed to meditation on abstract qualities, which clothed themselves in images. He saw Mercy, a woman with hands of compassion, touching and remitting the debts of the crowd that brought the penalties they had incurred: he saw Truth, nude and splendid, standing on the beach, fresh from the sea, with a smile for those who ignorantly feared him, and anger blazing from his eyes for those who tried to hide from him, and hands of love for those who came to him. But such visions never came to the scope of his physical sight, only by interior vision did he see Mercy bending to him, and Truth holding out a strong and tender hand. Their presences lived with him, and the gradual realization of them caused a shining company to stand round him.

* * * * *

But they were not what he sought: he sought that which lay behind them, that of which, for all their splendour, they were but the pale symbols and imperfect expressions. They were the heralds of the King, who attended in his presence-chamber, and came forth into the world radiant with his tokens. There were strange presences among them: there came Sorrow with bowed head, and Pain with pierced hands, and that darkness of the soul which still refuses to disbelieve in light. Often he turned his face from these storm-vexed visitants, crying out that they were but phantoms of the pit, and yet not quite endorsing his rejection of them, for their wounded hands shone, and there lurked a secret behind the tragedy of their faces....

We had come to the end of the ridge, and must descend into the plain below us. The sun had just set, and the wind that still blew steadily from the West held its breath for a moment.

"They took their places there," said Francis, "until they became friendly and glorious, and I did not fear them any longer. I knew what they represented, of what they were the symbols. Just as I had contemplated the stone-pine till I saw what was the nature from which it sprang, so I contemplated Sorrow and Doubt, till I saw that they had come from the Garden of Gethsemane. They are as holy as Mercy or Truth, and their touch sanctifies all the pain and sorrow that you and I and the whole world can ever feel. I dwelt within them. I learned to love them. I learned also to do the daily tasks that were mine, no longer with any sense of the triviality of them or with the notion that I might have been better employed on larger things. But for a long time, employed on this common round, nothing more happened: I just went on doing them, believing that they were part of a great whole, but not, I may say, energetically conscious of it. Then one day, as I told you, I saw God shining from the petroleum-tins and the shelves of the store."

* * * * *

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.