Certain Personal Matters

The visitor is fortunate who leaves no marketable impression behind. The literary entertainers eye you over, as if they were dealers in a slave mart, and speculate on your uses. They try to think how you would do as a scoundrel, and mark your little turns of phrase and kinks of thought to that end. The innocent visitor bites his cake and talks about theatres, while the meditative person in the arm-chair may be in imagination stabbing him, or starving him on a desert island, or even – horrible to tell! – flinging him headlong into the arms of the young lady to the right and "covering her face with a thousand passionate kisses." A manuscript in the rough of Euphemia's, that I recently suppressed, was an absolutely scandalous example of this method of utilising one's acquaintances. Mrs. Harborough, who was indeed Euphemia's most confidential friend for six weeks and more, she had made to elope with Scrimgeour – as steady and honourable a man as we know, though unpleasant to Euphemia on account of his manner of holding his teacup. I believe there really was something – quite harmless, of course – between Mrs. Harborough and Scrimgeour, and that, imparted in confidence, had been touched up with vivid colour here and there and utilised freely. Scrimgeour is represented as always holding teacups in his peculiar way, so that anyone would recognise him at once. Euphemia calls that character. Then Harborough, who is really on excellent terms with his wife, and, in spite of his quiet manner, a very generous and courageous fellow, is turned aside from his headlong pursuit of the fugitives across Wimbledon Common – they elope, by the bye, on Scrimgeour's tandem bicycle – by the fear of being hit by a golf ball. I pointed out to Euphemia that these things were calculated to lose us friends, and she promises to destroy the likeness; but I have no confidence in her promise. She will probably clap a violent auburn wig on Mrs. Harborough and make Scrimgeour squint and give Harborough a big beard. The point that she won't grasp is, that with that fatal facility for detail, which is one of the most indisputable proofs of woman's intellectual inferiority, she has reproduced endless remarks and mannerisms of these excellent people with more than photographic fidelity. But this is really a private trouble, though it illustrates very well the shameless way in which those who have the literary taint will bring to market their most intimate affairs.

ON SCHOOLING AND THE PHASES OF MR. SANDSOME

I do not know if you remember your "dates." Indeed, I do not know if anyone does. My own memory is of a bridge; like that bridge of Goldsmith's, standing firm and clear on its hither piers and then passing into a cloud. In the beginning of days was "William the Conqueror, 1066," and the path lay safe and open to Henry the Second; then came Titanic forms of kings, advancing and receding, elongating and dwindling, exchanging dates, losing dates, stealing dates from battles and murders and great enactments – even inventing dates, vacant years that were really no dates at all. The things I have suffered – prisons, scourgings, beating with rods, wild masters, in bounds often, a hundred lines often, standing on forms and holding out books often – on account of these dates! I knew, and knew well before I was fifteen, what these "heredity" babblers are only beginning to discover – that the past is the curse of the present. But I never knew my dates – never. And I marvel now that all little boys do not grow up to be Republicans, seeing how much they suffer for the mere memory of Kings.

Then there were pedigrees, and principal parts and conjugations, and county towns. Every county had a county town, and it was always on a river. Mr. Sandsome never allowed us a town without that colophon. I remember in my early manhood going to Guildford on the Wey, and trying to find that unobtrusive rivulet. I went over the downs for miles. It is not only the Wey I have had a difficulty in finding. There are certain verses – Heaven help me, but I have forgotten them! – about "i vel e dat" (was it dat?) "utrum malis" – if I remember rightly – and all that about amo, amas, amat. There was a multitude of such things I acquired, and they lie now, in the remote box-rooms and lumber recesses of my mind, a rusting armoury far gone in decay. I have never been able to find a use for them. I wonder even now why Mr. Sandsome equipped me with them. Yet he seemed to be in deadly earnest about this learning, and I still go in doubt. In those early days he impressed me, chiefly in horizontal strips, with the profoundest respect for his mental and physical superiority. I credited him then, and still incline to believe he deserved to be credited, with a sincere persuasion that unless I learnt these things I should assuredly go – if I may be frank – to the devil. It may be so. I may be living in a fool's paradise, prospering – like that wicked man the Psalmist disliked. Some unsuspected gulf may open, some undreamt-of danger thrust itself through the phantasmagoria of the universe, and I may learn too late the folly of forgetting my declensions.

I remember Mr. Sandsome chiefly as sitting at his desk, in a little room full of boys, a humming hive whose air was thick with dust, as the slanting sunbeams showed. When we were not doing sums or writing copies, we were always learning or saying lessons. In the early morning Mr. Sandsome sat erect and bright, his face animated, his ruddy eyes keen and observant, the cane hanging but uncertainly upon its hook. There was a standing up of classes, a babble of repetition, now and then a crisis. How long the days were then! I have heard that scientific people – Professor C. Darwin is their leader, unless I err – which probably I do, for names and dates I have hated from my youth up – say the days grow longer. Anyhow, whoever says it, it is quite wrong. But as the lank hours of that vast schooltime drawled on, Mr. Sandsome lost energy, drooped like a flower, – especially if the day was at all hot, – his sandy hair became dishevelled, justice became nerveless, hectic, and hasty. Finally came copybooks; and yawns and weird rumblings from Mr. Sandsome. And so the world aged to the dinner-hour.

When I had been home – it was a day school, for my aunt, who had an appetite for such things, knew that boarding-schools were sinks of iniquity – and returned, I had Mr. Sandsome at another phase. He had dined – for we were simple country folk. The figurative suggestions of that "phase" are irresistible – the lunar quality. May I say that Mr. Sandsome was at his full? We now stood up, thirty odd of us altogether, to read, reading out of books in a soothing monotone, and he sat with his reading-book before him, ruddy as the setting sun, and slowly, slowly settling down. But now and then he would jerk back suddenly into staring wakefulness as though he were fishing – with himself as bait – for schoolboy crimes in the waters of oblivion – and fancied a nibble. That was a dangerous time, full of anxiety. At last he went right under and slept, and the reading grew cheerful, full of quaint glosses and unexpected gaps, leaping playfully from boy to boy, instead of travelling round with a proper decorum. But it never ceased, and little Hurkley's silly little squeak of a voice never broke in upon its mellow flow. (It took a year for Hurkley's voice to break.) Any such interruption and Mr. Sandsome woke up and into his next phase forthwith – a disagreeable phase always, and one we made it our business to postpone as long as possible.

During that final period, the last quarter, Mr. Sandsome was distinctly malignant. It was hard to do right; harder still to do wrong. A feverish energy usually inspired our government. "Let us try to get some work done," Mr. Sandsome would say – and I have even known him teach things then. More frequently, with a needless bitterness, he set us upon impossible tasks, demanding a colossal tale of sums perhaps, scattering pens and paper and sowing the horrors of bookkeeping, or chastising us with the scorpions of parsing and translation. And even in wintry weather the little room grew hot and stuffy, and we terminated our schoolday, much exhausted, with minds lax, lounging attitudes, and red ears. What became of Mr. Sandsome after the giving-out of home-work, the concluding prayer, and the aftermath of impositions, I do not know. I stuffed my books, such as came to hand – very dirty they were inside, and very neat out with my Aunt Charlotte's chintz covers – into my green baize bag, and went forth from the mysteries of schooling into the great world, up the broad white road that went slanting over the Down.

I say "the mysteries of schooling" deliberately. I wondered then, I wonder still, what it was all for. Reading, almost my only art, I learnt from Aunt Charlotte; a certain facility in drawing I acquired at home and took to school, to my own undoing. "Undoing," again, is deliberate – it was no mere swish on the hand, gentle reader. But the things I learnt, more or less partially, at school, lie in my mind, like the "Sarsen" stones of Wiltshire – great, disconnected, time-worn chunks amidst the natural herbage of it. "The Rivers of the East Coast; the Tweed, the Tyne, the Wear, the Tees, the Humber" – why is that, for instance, sticking up among my ferns and wild flowers? It is not only useless but misleading, for the Humber is not another Tweed. I sometimes fancy the world may be mad – yet that seems egotistical. The fact remains that for the greater part of my young life Mr. Sandsome got an appetite upon us from nine till twelve, and digested his dinner, at first placidly and then with petulance, from two until five – and we thirty odd boys were sent by our twenty odd parents to act as a sort of chorus to his physiology. And he was fed (as I judge) more than sufficiently, clothed, sheltered, and esteemed on account of this relation. I think, after all, there must have been something in that schooling. I can't believe the world mad. And I have forgotten it – or as good as forgotten it – all! At times I feel a wild impulse to hunt up all those chintz-covered books, and brush up my dates and paradigms, before it is too late.

THE POET AND THE EMPORIUM

"I am beginning life," he said, with a sigh. "Great Heavens! I have spent a day —a day!– in a shop. Three bedroom suites and a sideboard are among the unanticipated pledges of our affection. Have you lithia? For a man of twelve limited editions this has been a terrible day."

I saw to his creature comforts. His tie was hanging outside his waistcoat, and his complexion was like white pasteboard that has got wet. "Courage," said I. "It will not occur again – "

"It will," said he. "We have to get there again tomorrow. We have – what is it? – carpets, curtains – "

He produced his tablets. I was amazed. Those receptacles of choice thoughts!

"The amber sunlight splashing through the leaky – leafy interlacing green," he read. "No! – that's not it. Ah, here! Curtains! Drawing-room – not to cost more than thirty shillings! And there's all the Kitchen Hardware! (Thanks.) Dining-room chairs – query – rush bottoms? What's this? G.L.I.S. – ah! "Glistering thro' deeps of glaucophane" – that's nothing. Mem. to see can we afford Indian needlework chairs – 57s. 6d.? It's dreadful, Bellows!"

He helped himself to a cigarette.

"Find the salesman pleasant?" said I.

"Delightful. Assumed I was a spendthrift millionaire at first. Produced in an off-hand way an eighty-guinea bedroom suite – we're trying to do the entire business, you know, on about two hundred pounds. Well – that's ten editions, you know. Came down, with evidently dwindling respect, to things that were still ruinously expensive. I told him we wanted an idyll – love in a cottage, and all that kind of thing. He brushed that on one side, said idols were upstairs in the Japanese Department, and that perhaps we might do with a servant's set of bedroom furniture. Do with a set! He was a gloomy man with (I should judge) some internal pain. I tried to tell him that there was quite a lot of middle-class people like myself in the country, people of limited or precarious means, whose existence he seemed to ignore; assured him some of them led quite beautiful lives. But he had no ideas beyond wardrobes. I quite forgot the business of shopping in an attempt to kindle a little human enthusiasm in his heart. We were in a great vast place full of wardrobes, with a remote glittering vista of brass bedsteads – skeleton beds, you know – and I tried to inspire him with some of the poetry of his emporium; tried to make him imagine these beds and things going east and west, north and south, to take sorrow, servitude, joy, worry, failing strength, restless ambition in their impartial embraces. He only turned round to Annie, and asked her if she thought she could do with 'enamelled.' But I was quite taken with my idea – Where is it? I left Annie to settle with this misanthrope, amidst his raw frameworks of the Homes of the Future."

He fumbled with his tablets. "Mats for hall – not to exceed 3s. 9d… Kerbs … inquire tiled hearth … Ah! Here we are: 'Ballade of the Bedroom Suite': —

"'Noble the oak you are now displaying,Subtly the hazel's grainings go,Walnut's charm there is no gainsaying,Red as red wine is your rosewood's glow;Brave and brilliant the ash you show,Rich your mahogany's hepatite shine,Cool and sweet your enamel: But oh!Where are the wardrobes of Painted Pine?'

"They have 'em in the catalogue at five guineas, with a picture – quite as good they are as the more expensive ones. To judge by the picture."

"But that's scarcely the idea you started with," I began.

"Not; it went wrong – ballades often do. The preoccupation of the 'Painted Pine' was too much for me. What's this? 'N.B. – Sludge sells music stools at – ' No. Here we are (first half unwritten): —

"'White enamelled, like driven snow,Picked with just one delicate line.Price you were saying is? Fourteen! – No!Where are the wardrobes of Painted Pine?'

"Comes round again, you see! Then L'Envoy: —

"'Salesman, sad is the truth I trow:Winsome walnut can never be mine.Poets are cheap. And their poetry. SoWhere are the wardrobes of Painted Pine?'

"Prosaic! As all true poetry is, nowadays. But, how I tired as the afternoon moved on! At first I was interested in the shopman's amazing lack of imagination, and the glory of that fond dream of mine – love in a cottage, you know – still hung about me. I had ideas come – like that Ballade – and every now and then Annie told me to write notes. I think my last gleam of pleasure was in choosing the drawing-room chairs. There is scope for fantasy in chairs. Then – "

He took some more whisky.

"A kind of grey horror came upon me. I don't know if I can describe it. We went through vast vistas of chairs, of hall-tables, of machine-made pictures, of curtains, huge wildernesses of carpets, and ever this cold, unsympathetic shopman led us on, and ever and again made us buy this or that. He had a perfectly grey eye – the colour of an overcast sky in January – and he seemed neither to hate us nor to detest us, but simply to despise us, to feel such an overwhelming contempt for our petty means and our petty lives, as an archangel might feel for an apple-maggot. It made me think…"

He lit a fresh cigarette.

"I had a kind of vision. I do not know if you will understand. The Warehouse of Life, with our Individual Fate hurrying each of us through. Showing us with a covert sneer all the good things that we cannot afford. A magnificent Rosewood love affair, for instance, deep and rich, fitted complete, some hours of perfect life, some acts of perfect self-sacrifice, perfect self-devotion… You ask the price."

He shrugged his shoulders.

"Where are the wardrobes of Painted Pine?" I quoted.

"That's it. All the things one might do, if the purse of one's courage were not so shallow. If it wasn't for the lack of that coinage, Bellows, every man might be magnificent. There's heroism, there's such nobility as no one has ever attained to, ready to hand. Anyone, if it were not for this lack of means, might be a human god in twenty-four hours… You see the article. You cannot buy it. No one buys it. It stands in the emporium, I suppose, for show – on the chance of a millionaire. And the shopman waves his hand to it on your way to the Painted Pine.

"Then you meet other couples and solitary people going about, each with a gloomy salesman leading. The run of them look uncomfortable; some are hot about the ears and in the spiteful phase of ill-temper; all look sick of the business except the raw new-comers. It's the only time they will ever select any furniture, their first chance and their last. Most of their selections are hurried a little. The salesman must not be kept all day… Yet it goes hard with you if you buy your Object in Life and find it just a 'special line' made to sell… We're all amateurs at living, just as we are all amateurs at furnishing – or dying. Some of the poor devils one meets carry tattered little scraps of paper, and fumble conscientiously with stumpy pencils. It's a comfort to see how you go, even if you do have to buy rubbish. 'If we have this so good, dear, I don't know how we shall manage in the kitchen,' says the careful housewife… So it is we do our shopping in the Great Emporium."

"You will have to rewrite your Ballade," said I, "and put all that in."

"I wish I could," said the poet.

"And while you were having these very fine moods?"

"Annie and the shopman settled most of the furniture between them. Perhaps it's just as well. I was never very good at the practical details of life… Cigarette's out! Have you any more matches?"

"Horribly depressed you are!" I said.

"There's to-morrow. Well, well…"

And then he went off at a tangent to tell me what he expected to make by his next volume of poems, and so came to the congenial business of running down his contemporaries, and became again the cheerful little Poet that I know.

THE LANGUAGE OF FLOWERS

During the early Victorian revival of chivalry the Language of Flowers had some considerable vogue. The Romeo of the mutton-chop whiskers was expected to keep this delicate symbolism in view, and even to display his wit by some dainty conceits in it. An ignorance of the code was fraught with innumerable dangers. A sprig of lilac was a suggestion, a moss-rosebud pushed the matter, was indeed evidence to go to court upon; and unless Charlotte parried with white poplar – a by no means accessible flower – or apricot blossom, or failing these dabbed a cooling dock-leaf at the fellow, he was at her with tulip, heliotrope, and honeysuckle, peach-blossom, white jonquil, and pink, and a really overpowering and suffocating host of attentions. I suppose he got at last to three-cornered notes in the vernacular; and meanwhile what could a poor girl do? There was no downright "No!" in the language of flowers, nothing equivalent to "Go away, please," no flower for "Idiot!" The only possible defence was something in this way: "Your cruelty causes me sorrow," "Your absence is a pleasure." For this, according to the code of Mr. Thomas Miller (third edition, 1841, with elegantly coloured plates) you would have to get a sweet-pea blossom for Pleasure, wormwood for Absence, and indicate Sorrow by the yew, and Cruelty by the stinging-nettle. There is always a little risk of mixing your predicates in this kind of communication, and he might, for instance, read that his Absence caused you Sorrow, but he could scarcely miss the point of the stinging-nettle. That and the gorse carefully concealed were about the only gleams of humour possible in the language. But then it was the appointed tongue of lovers, and while their sickness is upon them they have neither humour nor wit.

This Mr. Thomas Miller wrote abundant flowers of language in his book, and the plates were coloured by hand. By the bye, what a blessed thing colour-printing is! These hand-tinted plates, to an imaginative person, are about as distressing as any plates can very well be. Whenever I look at these triumphs of art over the beauties of nature, with all their weary dabs of crimson, green, blue, and yellow, I think of wretched, anæmic girls fading their youth away in some dismal attic over a publisher's, toiling through the whole edition tint by tint, and being mocked the while by Mr. Miller's alliterative erotics. And they are erotics! In one place he writes, "Beautiful art thou, O Broom! on the breezy bosom of the bee-haunted heath"; and throughout he buds and blossoms into similar delights. He wallows in doves and coy toyings and modest blushes, and bowers and meads. He always adds, "Wonderful boy!" to Chatterton's name as if it were a university degree (W.B.), and he invariably refers to Moore as the Bard of Erin, and to Milton as the Bard of Paradise – though Bard of the Bottomless Pit would be more appropriate. However, we are not concerned with Mr. Miller's language so much as with a very fruitful suggestion he throws out, that "it is surely worth while to trace a resemblance between the flower and the emblem it represents" (a turn like that is nothing to Mr. Miller) "which shall at least have some show of reason in it."

Come to think of it, there is something singularly unreasonable about almost all floral symbolism. There is your forget-me-not, pink in the bud, and sapphire in the flower, with a fruit that breaks up into four, the very picture of inconstancy and discursiveness. Yet your lover, with a singular blindness, presents this to his lady when they part. Then the white water-lily is supposed to represent purity of heart, and, mark you, it is white without and its centre is all set about with innumerable golden stamens, while in the middle lies, to quote the words of that distinguished botanist, Mr. Oliver, "a fleshy disc." Could there be a better type of sordid and mercenary deliberation maintaining a fair appearance? The tender apple-blossom, rather than Pretence, is surely a reminder of Eden and the fall of love's devotion into inflated worldliness. The poppy which flaunts its violent colours athwart the bearded corn, and which frets and withers like the Second Mrs. Tanqueray so soon as you bring it to the shelter of a decent home, is made the symbol of Repose. One might almost think Aimé Martin and the other great authorities on this subject wrote in a mood of irony.

The daisy, too, presents you Innocence, "companion of the milk-white lamb," Mr. Miller calls it. I am sorry for the milk-white lamb. It was one of the earliest discoveries of systematic botany that the daisy is a fraud, a complicated impostor. The daisy is not a flower at all. It is a favourite trap in botanical examinations, a snare for artless young men entering the medical profession. Each of the little yellow things in the centre of the daisy is a flower in itself, – if you look at one with a lens you will find it not unlike a cowslip flower, – and the white rays outside are a great deal more than the petals they ought to be if the Innocence theory is to hold good. There is no such thing as an innocent flower; they are all so many deliberate advertisements to catch the eye of the undecided bee, but any flower almost is simpler than this one. We would make it the emblem of artistic deception, and the confidence trick expert should wear it as his crest.

The violet, again, is a greatly overrated exemplar. It stimulates a certain bashfulness, hangs its head, and passed as modest among our simple grandparents. Its special merit is its perfume, and it pretends to wish to hide that from every eye. But, withal, the fragrance is as far-reaching as any I know. It droops ingenuously. "How could you come to me," it seems to say, "when all these really brilliant flowers invite you?" Mere fishing for compliments. All the while it is being sweet, to the very best of its undeniable ability. Then it comes, too, in early spring, without a chaperon, and catches our hearts fresh before they are jaded with the crowded beauties of May. A really modest flower would wait for the other flowers to come first. A subtle affectation is surely a different thing from modesty. The violet is simply artful, the young widow among flowers, and to hold up such a flower as an example is not doing one's duty by the young. For true modesty commend me to the agave, which flowers once only in half a hundred years, as one may see for oneself at the Royal Botanical Gardens.