Герберт Джордж Уэллс
Certain Personal Matters
THE AMATEUR NATURE-LOVER
It is possible that an education entirely urban is not the best conceivable preparation for descriptive articles upon the country. On the other hand, your professional nature-lover is sometimes a little over-familiar with his subject. He knows the names of all the things, and he does not spare you. Besides, he is subtle. The prominent features are too familiar to him, and he goes into details. What respectable townsman, for instance, knows what "scabiosa" is? It sounds very unpleasant. Then the professional nature-lover assumes that you know trees. No Englishman can tell any tree from any other tree, except a very palpable oak or poplar. So that we may at least, as an experiment, allow a good Londoner to take his unsophisticated eyes out into the sweet country for once, and try his skill at nature-loving, though his botany has been learned over the counter of flower-shops, and his zoology on Saturday afternoons when they have the band in the Gardens. He makes his way, then, over by Epsom Downs towards Sutton, trying to assimilate his mood to the proper flavour of appreciation as he goes, and with a little notebook in the palm of his hand to assist an ill-trained memory. And the burthen of his song is of course the autumn tints.
The masses of trees towards Epsom and Ewell, with the red houses and Elizabethan façades peeping through their interstices, contain, it would seem, every conceivable colour, except perhaps sky-blue; there are brilliant yellow trees, and a kind of tree of the most amazing gamboge green, almost the green of spring come back, and tan-coloured trees, deep brown, red, and deep crimson trees. Here and there the wind has left its mark, and the grey-brown branches and their purple tracery of twigs, with a suggestion of infinite depth behind, show through the rents in the leafy covering. There are deep green trees – the amateur nature-lover fancies they may be yews – with their dense warm foliage arranged in horizontal masses, like the clouds low down in a sunset; and certain other evergreens, one particularly, with a bluish-green covering of upstanding needles, are intensely conspicuous among the flame tints around. On a distant church tower, and nearer, disputing the possession of a gabled red house with a glowing creeper, is some ivy; and never is the perennial green of ivy so delightful as it is now, when all else is alight with the sombre fire of the sunset of the year…
The amateur nature-lover proceeds over the down, appreciating all this as hard as he can appreciate, and anon gazing up at the grey and white cloud shapes melting slowly from this form to that, and showing lakes, and wide expanses, and serene distances of blue between their gaps. And then he looks round him for a zoological item. Underfoot the grass of the down is recovering from the summer drought and growing soft and green again, and plentiful little flattened snail shells lie about, and here and there a late harebell still nods in the breeze. Yonder bolts a rabbit, and then something whizzes by the amateur nature-lover's ear.
They shoot here somewhere, he remembers suddenly; and then looking round, in a palpitating state, is reassured by the spectacle of a lone golfer looming over the brow of the down, and gesticulating black and weird against the sky. The Londoner, with an abrupt affectation of nonchalance, flings himself flat upon his back, and so remains comparatively safe until the golfer has passed. These golfers are strange creatures, rabbit-coloured, except that many are bright red about the middle, and they repel and yet are ever attracted by a devil in the shape of a little white ball, which leads them on through toothed briars, sharp furzes, pricking goss, and thorns; cursing the thing, weeping even, and anon laughing at their own foolish rambling; muttering, heeding no one to the right or left of their career, – demented creatures, as though these balls were their souls, that they ever sought to lose, and ever repented losing. And silent, ever at the heel of each, is a familiar spirit, an eerie human hedgehog, all set about with walking-sticks, a thing like a cylindrical umbrella-stand with a hat and boots and a certain suggestion of leg. And so they pass and are gone.
Rising, the amateur nature-lover finds he has been reclining on a puff-ball. These puff-balls are certainly the most remarkable example of adaptation to circumstances known to English botanists. They grow abundantly on golf grounds, and are exactly like golf-balls in external appearance. They are, however, Pharisees and whited sepulchres, and within they are full of a soft mess of a most unpleasant appearance – the amateur nature-lover has some on him now – which stuff contains the spores. It is a case of what naturalists call "mimicry" – one of nature's countless adaptations. The golf-player smites these things with force, covering himself with ridicule – and spores, and so disseminating this far-sighted and ingenious fungus far and wide about the links.
The amateur nature-lover passes off the down, and towards Banstead village. He is on the watch for characteristic objects of the countryside, and rustling through the leaves beneath a chestnut avenue he comes upon an old boot. It is a very, very old boot, all its blacking washed off by the rain, and two spreading chestnut leaves, yellow they are with blotches of green, with their broad fingers extended, rest upon it, as if they would protect and altogether cover the poor old boot in its last resting-place. It is as if Mother Nature, who lost sight of her product at the tanner's yard, meant to claim her own trampled child again at last, after all its wanderings. So we go on, noting a sardine tin gleaming brightly in the amber sunlight, through a hazel hedge, and presently another old boot. Some hawthorn berries, some hoary clematis we notice – and then another old boot. Altogether, it may be remarked, in this walk the amateur nature-lover saw eleven old boots, most of them dropped in the very sweetest bits of hedge tangle and grassy corner about Banstead.
It is natural to ask, "Whence come all these old boots?" They are, as everyone knows, among the commonest objects in a country walk, so common, indeed, that the professional nature-lover says very little about them. They cannot grow there, they cannot be dropped from above – they are distinctly earth-worn boots. I have inquired of my own domestic people, and caused inquiry to be made in a large number of households, and there does not appear to be any regular custom of taking boots away to remote and picturesque spots to abandon them. Some discarded boots of my own were produced, but they were quite different from the old boot of the outer air. These home-kept old boots were lovely in their way, hoary with mould running into the most exquisite tints of glaucophane and blue-grey, but it was a different way altogether from that of the wild boot.
A friend says, that these boots are cast away by tramps. People, he states, give your tramp old boots and hats in great profusion, and the modesty of the recipient drives him to these picturesque and secluded spots to effect the necessary change. But no nature-lover has ever observed the tramp or tramp family in the act of changing their clothes, and since there are even reasons to suppose that their garments are not detachable, it seems preferable to leave the wayside boot as a pleasant flavouring of mystery to our ramble. Another point, which also goes to explode this tramp theory, is that these countryside boots never occur in pairs, as any observer of natural history can testify…
So our Cockney Jefferies proceeds, presently coming upon a cinder path. They use cinders a lot about Sutton, to make country paths with; it gives you an unexpected surprise the first time it occurs. You drop suddenly out of a sweetly tangled lane into a veritable bit of the Black Country, and go on with loathing in your soul for your fellow-creatures. There is also an abundance of that last product of civilisation, barbed wire. Oh that I were Gideon! with thorns and briers of the wilderness would I teach these elders of Sutton! But a truce to dark thoughts!
We take our last look at the country from the open down above Sutton. Blue hills beyond blue hills recede into the remote distance; from Banstead Down one can see into Oxfordshire. Windsor Castle is in minute blue silhouette to the left, and to the right and nearer is the Crystal Palace. And closer, clusters red-roofed Sutton and its tower, then Cheam, with its white spire, and further is Ewell, set in a variegated texture of autumn foliage. Water gleams – a silver thread – at Ewell, and the sinking sun behind us catches a window here and there, and turns it into an eye of flame. And so to Sutton station and home to Cockneydom once more.
FROM AN OBSERVATORY
It will be some time yet before the rising of the moon. Looking down from the observatory one can see the pathways across the park dotted out in yellow lamps, each with a fringe of dim green; and further off, hot and bright, is the tracery of the illuminated streets, through which the people go to and fro. Save for an occasional stirring, or a passing voice speaking out of the dimness beneath me, the night is very still. Not a cloud is to be seen in the dark midwinter sky to hide one speck of its broad smears of star dust and its shining constellations.
As the moon rises, heaven will be flooded with blue light, and one after another the stars will be submerged and lost, until only a solitary shining pinnacle of brightness will here and there remain out of the whole host of them. It is curious to think that, were the moon but a little brighter and truly the ruler of the night, rising to its empire with the setting of the sun, we should never dream of the great stellar universe in which our little solar system swims – or know it only as a traveller's tale, a strange thing to be seen at times in the Arctic Circle. Nay, if the earth's atmosphere were some few score miles higher, a night-long twilight would be drawn like an impenetrable veil across the stars. By a mere accident of our existence we see their multitude ever and again, when the curtains of the daylight and moonlight, and of our own narrow pressing necessities, are for a little while drawn back. Then, for an interval, we look, as if out of a window, into the great deep of heaven. So far as physical science goes, there is nothing in the essential conditions of our existence to necessitate that we should have these transitory glimpses of infinite space. We can imagine men just like ourselves without such an outlook. But it happens that we have it.
If we had not this vision, if we had always so much light in the sky that we could not perceive the stars, our lives, so far as we can infer, would be very much as they are now; there would still be the same needs and desires, the same appliances for our safety and satisfaction; this little gaslit world below would scarcely miss the stars now, if they were blotted out for ever. But our science would be different in some respects had we never seen them. We should still have good reason, in Foucault's pendulum experiment, for supposing that the world rotated upon its axis, and that the sun was so far relatively fixed; but we should have no suspicion of the orbital revolution of the world. Instead we should ascribe the seasonal differences to a meridional movement of the sun. Our spectroscopic astronomy – so far as it refers to the composition of the sun and moon – would stand precisely where it does, but the bulk of our mathematical astronomy would not exist. Our calendar would still be in all essential respects as it is now; our year with the solstices and equinoxes as its cardinal points. The texture of our poetry might conceivably be the poorer without its star spangles; our philosophy, for the want of a nebular hypothesis. These would be the main differences. Yet, to those who indulge in speculative dreaming, how much smaller life would be with a sun and a moon and a blue beyond for the only visible, the only thinkable universe. And it is, we repeat, from the scientific standpoint a mere accident that the present – the daylight – world periodically opens, as it were, and gives us this inspiring glimpse of the remoteness of space.
One may imagine countless meteors and comets streaming through the solar system, unobserved by those who dwelt under such conditions as have just been suggested, or some huge dark body from the outer depths sweeping straight at that little visible universe, and all unsuspected by the inhabitants. One may imagine the scientific people of such a world, calm in their assurance of the permanence of things, incapable almost of conceiving any disturbing cause. One may imagine how an imaginative writer who doubted that permanence would be pooh-poohed. "Cannot we see to the uttermost limits of space?" they might argue, "and is it not altogether blue and void?" Then, as the unseen visitor draws near, begin the most extraordinary perturbations. The two known heavenly bodies suddenly fail from their accustomed routine. The moon, hitherto invariably full, changes towards its last quarter – and then, behold! for the first time the rays of the greater stars visibly pierce the blue canopy of the sky. How suddenly – painfully almost – the minds of thinking men would be enlarged when this rash of the stars appeared.
And what then if our heavens were to open? Very thin indeed is the curtain between us and the unknown. There is a fear of the night that is begotten of ignorance and superstition, a nightmare fear, the fear of the impossible; and there is another fear of the night – of the starlit night – that comes with knowledge, when we see in its true proportion this little life of ours with all its phantasmal environment of cities and stores and arsenals, and the habits, prejudices, and promises of men. Down there in the gaslit street such things are real and solid enough, the only real things, perhaps; but not up here, not under the midnight sky. Here for a space, standing silently upon the dim, grey tower of the old observatory, we may clear our minds of instincts and illusions, and look out upon the real.
And now to the eastward the stars are no longer innumerable, and the sky grows wan. Then a faint silvery mist appears above the housetops, and at last in the midst of this there comes a brilliantly shining line – the upper edge of the rising moon.
THE MODE IN MONUMENTS
STRAY THOUGHTS IN HIGHGATE CEMETERY
On a sharp, sunlight morning, when the white clouds are drifting swiftly across the luminous blue sky, there is no finer walk about London than the Highgate ridge. One may stay awhile on the Archway looking down upon the innumerable roofs of London stretching southward into the haze, and shining here and there with the reflection of the rising sun, and then wander on along the picturesque road by the college of Saint Aloysius to the new Catholic church, and so through the Waterlow Park to the cemetery. The Waterlow Park is a pleasant place, full of children and aged persons in perambulators during the middle hours of the day, and in the summer evening time a haunt of young lovers; but your early wanderer finds it solitary save for Vertumnus, who, with L.C.C. on the front of him, is putting in crocuses. So we wander down to the little red lodge, whence a sinuous road runs to Hampstead, and presently into the close groves of monuments that whiten the opposite slope.
How tightly these white sepulchres are packed here! How different this congestion of sorrow from the mossy latitude of God's Acre in the country! The dead are crammed together as closely as the living seemed in that bird's-eye view from the Archway. There is no ample shadow of trees, no tangled corners where mother earth may weave flower garlands over her returning children. The monuments positively jostle and elbow each other for frontage upon the footways. And they are so rawly clean and assertive. Most of them are conspicuously new whitened, with freshly-blackened or newly-gilt inscriptions, bare of lichen, moss, or mystery, and altogether so restless that it seems to the meditative man that the struggle for existence, for mere standing room and a show in the world, still rages among the dead. The unstable slope of the hill, with its bristling array of obelisks, crosses and urns, craning one above another, is as directly opposed to the restfulness of the village churchyard with its serene outspreading yews as midday Fleet Street to a Sabbath evening amidst the Sussex hills. This cemetery is, indeed, a veritable tumult of tombs.
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
.
