Part 7

That again is constant, and could not be mended: though Mr. Sharp would mend it if he could, thinking that the hasty shifting of persons, from third to first, is awkward. It may be awkward, but is very characteristic and, as I think, evidence of authenticity. One more verse, which devotes the mourner to a shared grave, ends “Bruton Town” in pure tragedy; pity, terror, but not disgust. Boccaccio’s additament is nasty, and Keats did not avoid it, though he was not so nasty as Boccaccio.

“Bruton Town” comes from Somerset, and is worthy of that songful shire. It carries in itself its own conviction of peasant origin. No other race of our people would have conceived the verse last quoted exactly like that, nor any other audience have accepted it as adequate. “Friend of mine” is the _pièce de conviction_: the sweetest name a village girl can give her lover is that of her friend. The pathos of “And wiped his eyes though he was blind” is the pathos of a wounded bird. It is beyond the compass of art altogether, one of those strokes of truth which puts art out of court. It is Nature’s justification before the schools.

Doggerel, then, or not? There are other things in Mr. Sharp’s volumes which may help to determine. There is the well-known “Little Sir Hugh,” where the sacrifice of a Christian child by the Jews is sung. Mr. Sharp’s version is in parts new. Take this out of it for good doggerel:

“She set him up in a gilty chair, She gave him sugar sweet; She laid him out on a dresser board, And stabbed him like a sheep.”

Well, without any pretence at _curiosa felicitas_, that does its work. It is terse, tense, yet easy and colloquial. It is shocking rather than pitiful; but it means to be so. It might be evidence at the Assizes, where, term by term, they supply just the kind of thing which would have given that versifier what he wanted. Mr. Sharp’s “Little Sir Hugh” in fact is not far from Catnachery, of which he gives some avowed examples. It has only to be set beside “Bruton Town” to settle it that if “Sir Hugh” is doggerel, the other is not. Ease, tensity, colloquialism both have; but then comes the difference. “Sir Hugh” shocks, “Bruton Town” moves; “Bruton Town” has in it the lyric cry, “Sir Hugh” has it not.

Take as a last case “The True Lover’s Farewell,” pure doggerel, but excellent of its kind. Everybody knows it, for a reason:

“O fare you well, I must be gone And leave you for a while; But wherever I go I will return, If I go ten thousand mile, My dear, If I go ten thousand mile.”

Now for the reason. Burns lifted that for his occasions, and hardly altered it. He took it and fitted it into its place among other verses on the same model--but this is how he began:

“O my luve’s like a red, red rose That’s newly sprung in June: O my luve’s like the melodie That’s sweetly played in tune--”

An opening, observe, of three beats; and then, as a kind of chorus, the emotions quickened up, three four-beat verses of abandonment increasing in reckless simile, and ending with:

“And fare thee well, my only luve; And fare thee well awhile! And I will come again, my luve, Tho’ it were ten thousand mile!”

That is drawing poetry out of doggerel, the work of genius.

THE IBERIAN’S HOUSE

Not long ago I was on the Downs in pursuit of wild raspberries, which, as the old phrase goes, are very plenty this year. Although the days are still those of the dog, there was autumn in the air even then: a grey sky with a cool stream of wind from the west in which was that familiar taint of things dying which autumn always brings. The flowers were of autumn too--scabious, bedstraw and rest-harrow; mushrooms were to be had for the stooping, which we usually seek in dewy September dawns. On the other hand, there were the raspberries; the brambles were in flower, and the corn just tinged with yellow. After a burning May and June, a dripping July, the times are out of joint--but I filled a hat full of raspberries.

I found the best of them in a pear-shaped hollow in the ground, a place rather like a giant’s sauce-boat, in depth perhaps some six feet. Allowing for the slow accumulation of soil tumbled from the sides, for growth by vegetation and decay spread over many centuries, it may once have been another three feet down. Call it, then, nine feet deep. By outside measurements it was fourteen yards long by nine at the broad end of the pear, narrowing down to three where the stalk would have been. To-day the actual floor-space is barely two yards at the broad end. That is because the sides have fallen in, and made descent a matter of walking, which originally, no doubt, was contrived by some sort of a ladder, or by slithering down a tree-trunk. Vegetation is profuse in there: the turf like a sponge, the scabious as big as ladies’ watches, the raspberries good enough for Bond Street. Well they may be, for they are rooted in the bones and household spoil of more than two thousand years. The place was a house long before Cæsar knew Britain, before the Belgae were in Wilts, before Wilts was Wilts. To revert to a convenient term, I picked my raspberries in an Iberian house.

I considered it that day in the light thrown upon its proportions for me (all unknown to the author) by a terrible little book, the more terrible for its dispassionate statement, called “The Woman in the Little House,” whose author, Mrs. Margaret Eyles, has herself experienced what she writes of. Her Little House is one of, I daresay, a million; one of those narrow, flat-faced boxes of brick--“two up and two down,” as they are expressed--sprawling far and wide over the home counties about London, in which the artisans and operatives who work thereabout contrive, as best they may, to bestow themselves. It does not need--or should not--Mrs. Eyles’s calm and good-tempered account to realise that such dwellings are bad for health and morals, fatal to the nerves and ruinous to the purses of their occupants. Yet she mentions more than one simple truth which proves immediately that the smallest house at the lowest possible rent may be much more costly than a large one--for instance, she points out that the smallness of the house and the want of storage room make purchase of stores in any kind of bulk out of the question. But I have neither the time nor the knowledge to develop these questions properly. I have only one criticism to make, and that is that the sufferings of the small householder cannot all be laid to size; that the difficulties of the Woman in the Little House are not only economic. Fecklessness in the Woman must take its share of blame. It is hard to bring up a family in the fear of God and the use of soap, where there seems to be neither room for the one nor chance for the other. It is wearing-down work to be nurse to many small and fretful children while you are carrying yet another, to keep order in a household which has neither scope for, nor desire of order, to deal with drunken husband, grudging landlord, quarrelsome neighbour--and so on. But Mrs. Eyles knows that these things can be done by the woman who realises that they must, that they have been done and are being done; and though both of us may grudge, as we do, the waste of nerve, youth, beauty, vitality which they involve, yet had we rather preach the gospel of such heroic dumb endurance, such constancy in adversity, such piety, _and their reward_, than have the heroines fall back, flounder in the trough of the wave, or the “sensual sty.” But for their lamps held up, indeed would “universal darkness cover all.”

I seem to be far from my neolithic dwelling; yet am close to it; for that itself was not much smaller than the “Little House” of to-day, and yet is three thousand years older at the very least. To its successor, the Celtic and early English wattle-and-daub hut this brick box has succeeded, while here in the village under the Down there are two-roomed, three-roomed tenements in which may be found man, wife, and eight or ten children. So far as floor-space, air-space, headroom, sanitation go, they will be very little better than the hole in the chalk. So far as intellectual and moral outlook go, so far as foresight, restraint of members, mental capacity, while tradition is still the universal guide--a tradition which it is not easy to distinguish from mere instinct--there is little reason to suppose the occupants of the one differ materially from those of the other. I am not to regret it or reprove it, but to state it; and go on to say that when tradition is modified by character the state of a family so conditioned may be not only orderly, not only prosperous, but happy--and by that I don’t mean merely contented, but consciously and avowedly happy. I know several which are so; and while I see, or hear, of their well-being I have no reason for being anything but glad of it. Sir Alfred Mond, to be sure, has had nothing to do with it; but it is my belief that when it comes to a tug-of-war between character and Sir Alfred Mond, character will pull the right honourable baronet all over the place.

I cannot bring myself to be that whole-hearted kind of reformer who says, my sauce must be your sauce, or there is no health for the world. If I must provide a villager (as surely I must) with store-room for his potatoes, I would not give him a bath-room for the purpose. I am uncomfortable myself if I don’t souse every morning in warm water; but I know several persons who do nothing of the sort, and are not in the least uncomfortable, nor (to the senses) unclean. I have been a guest in a house in Northumberland of the right Iberian kind, which consisted of one room only. A better-conditioned, more wholesome, more intelligent family than I found there I don’t expect to find easily anywhere. Tradition explained, and character made tolerable, such a dwelling. I have not actually seen, but know the appearance of the house in Ecclefechan, where Carlyle was reared. I should be surprised to learn that it was more than “two up and one down,” rather surprised if it was so much. I don’t put Thomas Carlyle forward as an example of the modification of circumstance by character: he was much the reverse. But all that he tells me of his father and mother was written for my learning. The rule of Saint Use was well kept in Ecclefechan, or I am the more deceived. If Carlyle’s mother would have exchanged her lot for that of any woman born she was not the woman he celebrates. And have we not heard of Margaret Ogilvie, and been the better of it? It is not the present-day practice to consider our social troubles from the moral end, and I am sorry for it. The economic end engrosses us altogether; yet it is not, strictly speaking, the “business-end.” It is little use abolishing this or that institution while human nature remains as it always was.

There is one serious subject which Mrs. Eyles has had to deal with, into which I hesitate to intrude. Iberian women are kind, and their men clamative. As she has heard it said by many a one of them, the day may be endured, but not the night. Well, there again character can modify use-and-wont, either by teaching acquiescence or by inspiring revolt. And yet I cannot but remember what was said to a friend of mine in a neighbouring village in the first of our terrible four years of war. The speaker was a woman, a mother of children, who for the first time in her life had enough money and her house to herself. “Ah, ma’am,” she said, “you may depend upon it, this war has made many happy homes.”

SCANDINAVIAN ENGLAND

The valley is narrow, not much more than a hundred and fifty yards wide, where I am stationed now. Of them some twenty are claimed by the headlong river and its beaches of flat grey stones, and perhaps eighty more by small green garths, divided by walls. Then broken ground of boulders, bent and bracken, and then, immediately, the fells rise up like walls to a ragged skyline. They stream with water at every fissure, are quickly clouded, blurred and blotted by rain; then clear, and shining like glass in the sun. The look of things is not the same for half an hour at a time. Fleets of cloud come up from the Atlantic, anchor themselves on the mountain-tops, and descend in floods of rain, sharp and swift as arrows. Or if the wind drive them they will fleet across the landscape like white curtains, and whelm the world in blown water. You don’t “make” your hay in this country, you “win” it if you can: you steal it, as they say. As for your patches of oats, as likely as not you will use them for green fodder. Roots would be your crop if you had room for them among the stones--but in Eskdale you are a sheep-farmer, with a thousand head of sheep and a thousand acres of fell to feed them on.

I am new to this corner of our country, where Lancashire and Cumberland run so much in and out of each other that the people have given up county categories and call it all indifferently Furness Fells. I don’t know any other part of England so sparely occupied. The farms are few, large and far apart; there are practically no villages; and my own cottage (which was built for a dead and buried mining scheme, and is the last of its clan) is the only one to be found within miles of empty country. A plain-faced, plain-dealing, plain-spoken race lives here, in a countryside where every natural landmark has a Norse name, and one is recalled to the Sagas at every turn of the valley, and by every common occupation of man. The economy of life exactly follows that told of in the Icelandic tales. In the homestead live the farmer and his thralls, the wife and her maids. There are no married labourers, and board and lodging is part of every young man’s and young woman’s hire. Twelve such people live in the farmhouse nearest to me--twelve people, eleven dogs, an uncertain number of children, and a bottle-fed black lamb. Not only so, but it is true that the dalesmen and their servants are Icelandic in favour and way of speech. Dialect is not much to the point; intonation is a great deal to it. That runs flat, level and monotonous--unemotionally, like Danish. It makes a kind of muted speech, so that it is hard to know whether a woman is pleased or angry, or a man of agreeable or offensive intention.

I never met with a people more innately democratic than the Danes until I met this year with this people of Eskdale. It is not at all that they seek to assert their equality: it is that they know it. The manners depicted in the Sagas are those of men dealing with men. Neither inflation nor deflation is deemed necessary, neither arrogance nor condescension. You make a statement, short and unadorned: it is for the other man to take or leave. Speech is not epigrammatic because minds move slowly here. But it is very terse--because it may rain before you have finished. Plainer than speech are manners. They were that in the Sagas, in more than one of which the starting-point of feud and vendetta was the persistent and obtuse besetting of a daughter of one house by the son of another. She was busy, or busied, as in all primitive societies the women are; but he was not. So he hung about her house, not attempting speech with her, not explaining or justifying or extenuating his oppressive behaviour, simply overshadowing the poor thing, causing her to be talked about, and scandalising her family. There was but one way of dealing with him in those days, which was to crack his skull. That was done, and so the drama put on its legs. Things are better than that now, yet the principle is the same. I remember the discomfort and alarm of three southern maids whom we once brought up with us to a farmhouse in Selkirk. At their supper-hour three strange young men were discovered sitting on a gate in full view of the kitchen window. Nothing makes an Iberian so uncomfortable as to be watched at a meal. But nothing would move the young men, not even the drawing of the curtains. They had no explanation to give, no excuse to make. One faintly whistled between his teeth, and then said that it was a free country. So it was, if to make free is to be so.

It is much the same here. The young men of the farm regard every young woman, of whatever walk in life, as a thing to be whistled in, like a sheep-dog. They have the Saga knack of declaring the state of their feelings by imposing themselves upon its object. They beleaguer the house, shadow the desired, trust to wearing her down, hope to bore her into love. Or, rather, they don’t care whether she love or not, so long as they are allowed it. Woman in the Sagas is a chattel, a thing to be bought or stolen. So she was to the Homeric hero. So she seems to be here.

The Danes, as we loosely call our Norse invaders, were a more dominant strain than whatever people they found in Furness. Not only have they implanted their form, feature and hue upon the Cumbrians, not only named their rivers and hills for them, or a great many of them, but they have established their social code. “Whistle and I’ll come to you, my lad,” is not a sentiment of Southern Britain. It is firmly implanted in the mind of the young Dalesman, who finds it right and proper.

OUR BLOOD AND STATE IN 1660

I believe that we have always had the good conceit of ourselves which we have still. We complain freely of our weather, institutions, habits, manners and customs--but that is a freedom which we arrogate to ourselves: when foreigners do the same we are merely amused, not for a moment supposing either that their charges are true or that they really mean them. Though our grousing can hardly be dated with safety before Horace Walpole, our complacency is of pretty old standing, and goes back to the time when we began to look Europe over, to say nothing of America, and incidentally grew curious about our own country. Leland, Speed, Camden, Drayton, Coryat, and finally old Thomas Fuller, between them have fairly summed up what there can have been to say for us when we had emerged from the Middle Ages and were beginning to shape for posterity; and of all those Fuller is perhaps the least known and the best worth a thought, if only because his eyes were upon what he saw rather than what he knew. The rock upon which most of our eulogists split was archæology. There Leland foundered, Speed and Camden too. Drayton had his troubles elsewhere, and plenty of them, as a poet would. Avoiding Scylla, he barged into Charybdis, where mythopoiesis lurked for him like a mermaid, and sank him so deep that he never came up again. He is very nearly unreadable; he invites ridicule and wins disgust. Over and over his bemused corpus of rime, John Selden, a most learned spider, spun webs of erudition. It is difficult to read either of them, but of the two I prefer the poet. The present Laureate puts the antiquary first. But when you come to Thomas Fuller, D.D., his _Worthies of England_, that wordy work, encumbered though it be with texts of divinity, you do at least get your teeth into something upon which to bite. He did not live to finish it, though, and the piety of his son John, “the author’s orphan,” as he described himself, erected it as a monument to his memory in 1672.

Fuller, I think, set out with the intention of belauding the human products of our realm. He cast all mankind into categories and, with them for a sieve, shook out the shires to see what he could find. To that he added matter concerning the natural and manufactured commodities of England, which forms the best reading in him to-day. One does not particularly want to know what he had to say about Sir Walter Raleigh or Cardinal Wolsey; even his opinion of Shakespeare and Ben Jonson need not detain us long, though he seems to have known personally the pair of them, and to have considered Jonson considerably the greater man. Wit was always reckoned above genius in that day. But he admits Shakespeare as a worthy of Warwickshire, accords him exactly as much space as Michael Drayton, “a pious poet,” and thinks that in our greatest man “three eminent poets may seem in some sort to be compounded”; a sufficiently qualified judgment. Those three are--“Martial, in the warlike sound of his surname”; Ovid, “the most natural and witty of all the poets”; and Plautus, “an exact comedian, yet never any scholar, as our Shakespeare (if alive) would confess himself.” He goes on, “Add to all these, that though his genius generally was jocular, and inclining him to festivity, yet he could (when so disposed) be solemn and serious.” Not extravagant praise. He does not know the date of his death, leaves it blank. And so much for Shakespeare.