Герберт Джордж Уэллс
Certain Personal Matters
IN A LITERARY HOUSEHOLD
In the literary household of fiction and the drama, things are usually in a distressing enough condition. The husband, as you know, has a hacking cough, and the wife a dying baby, and they write in the intervals of these cares among the litter of the breakfast things. Occasionally a comic, but sympathetic, servant brings in an armful – "heaped up and brimming over" – of rejected MSS., for, in the dramatic life, it never rains but it pours. Instead of talking about editors in a bright and vigorous fashion, as the recipients of rejections are wont, the husband groans and covers his face with his hands, and the wife, leaving the touching little story she is writing – she posts this about 9 p.m., and it brings in a publisher and £100 or so before 10.30 – comforts him by flopping suddenly over his shoulder. "Courage," she says, stroking his hyacinthine locks (whereas all real literary men are more or less grey or bald). Sometimes, as in Our Flat, comic tradesmen interrupt the course of true literature with their ignoble desire for cash payment, and sometimes, as in Our Boys, uncles come and weep at the infinite pathos of a bad breakfast egg. But it's always a very sordid, dusty, lump-in-your-throaty affair, and no doubt it conduces to mortality by deterring the young and impressionable from literary vices. As for its truth, that is another matter altogether.
Yet it must not be really imagined that a literary household is just like any other. There is the brass paper-fastener, for instance. I have sometimes thought that Euphemia married me with an eye to these conveniences. She has two in her grey gloves, and one (with the head inked) in her boot in the place of a button. Others I suspect her of. Then she fastened the lamp shade together with them, and tried one day to introduce them instead of pearl buttons as efficient anchorage for cuffs and collars. And she made a new handle for the little drawer under the inkstand with one. Indeed, the literary household is held together, so to speak, by paper-fasteners, and how other people get along without them we are at a loss to imagine.
And another point, almost equally important, is that the husband is generally messing about at home. That is, indeed, to a superficial observer, one of the most remarkable characteristics of the literary household. Other husbands are cast out in the morning to raven for income and return to a home that is swept and garnished towards the end of the day; but the literary husband is ever in possession. His work must not be disturbed even when he is merely thinking. The study is consequently a kind of domestic cordite factory, and you are never certain when it may explode. The concussion of a dust-pan and brush may set it going, the sweeping of a carpet in the room upstairs. Then behold a haggard, brain-weary man, fierce and dishevelled, and full of shattered masterpiece – expostulating. Other houses have their day of cleaning out this room, and their day for cleaning out that; but in the literary household there is one uniform date for all such functions, and that is "to-morrow." So that Mrs. Mergles makes her purifying raids with her heart in her mouth, and has acquired a way of leaving the pail and brush, or whatever artillery she has with her, in a manner that unavoidably engages the infuriated brute's attention and so covers her retreat.
It is a problem that has never been probably solved, this discord of order and orderly literary work. Possibly it might be done by making the literary person live elsewhere or preventing literary persons from having households. However it might be done, it is not done. This is a thing innocent girls exposed to the surreptitious proposals of literary men do not understand. They think it will be very fine to have photographs of themselves and their "cosy nooks" published in magazines, to illustrate the man's interviews, and the full horror of having this feral creature always about the house, and scarcely ever being able to do any little thing without his knowing it, is not brought properly home to them until escape is impossible.
And then there is the taint of "copy" everywhere. That is really the fundamental distinction. It is the misfortune of literary people, that they have to write about something. There is no reason, of course, why they should, but the thing is so. Consequently, they are always looking about them for something to write about. They cannot take a pure-minded interest in anything in earth or heaven. Their servant is no servant, but a character; their cat is a possible reservoir of humorous observation; they look out of window and see men as columns walking. Even the sanctity of their own hearts, their self-respect, their most private emotions are disregarded. The wife is infected with the taint. Her private opinion of her husband she makes into a short story – forgets its origin and shows it him with pride – while the husband decants his heart-beats into occasional verse and minor poetry. It is amazing what a lot of latter-day literature consists of such breaches of confidence. And not simply latter-day literature.
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. So
Where 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.
