The King’s thoughts were in a kind of rout; he could not collect them.
“It is generally felt to be a little funny,” he said, vaguely.
“I suppose,” said Adam, turning on him with a fierce suddenness, “I suppose you fancy crucifixion was a serious affair?”
“Well, I...” began Auberon, “I admit I have generally thought it had its graver side.”
“Then you are wrong,” said Wayne, with incredible violence. “Crucifixion is comic. It is exquisitely diverting. It was an absurd and obscene kind of impaling reserved for people who were made to be laughed at...for slaves and provincials...for dentists and small tradesmen, as you would say. I have seen the grotesque gallows-shape, which the little Roman gutter-boys scribbled on walls as a vulgar joke, blazing on the pinnacles of the temples of the world. And shall I turn back?”
The King made no answer.
Adam went on, his voice ringing in the roof.
“This laughter with which men tyrannize is not the great power you think it. Peter was crucified, and crucified head downwards. What could be funnier than the idea of a respectable old Apostle upside down? What could be more in the style of your modern humour? But what was the good of it? Upside down or right side up, Peter was Peter to mankind. Upside down he still hangs over Europe, and millions move and breathe only in the life of his church.”
King Auberon got up absently.
“There is something in what you say,” he said. “You seem to have been thinking, young man.”
“Only feeling, sire,” answered the Provost. “I was born, like other men, in a spot of the earth which I loved because I had played boys’ games there, and fallen in love, and talked with my friends through nights that were nights of the gods. And I feel the riddle. These little gardens where we told our loves. These streets where we brought out our dead. Why should they be commonplace? Why should they be absurd? Why should it be grotesque to say that a pillar-box is poetic when for a year I could not see a red pillar-box against the yellow evening in a certain street without being wracked with something of which God keeps the secret, but which is stronger than sorrow or joy? Why should any one be able to raise a laugh by saying ‘the Cause of Notting Hill’?...Notting Hill where thousands of immortal spirits blaze with alternate hope and fear.”
Auberon was flicking dust off his sleeve with quite a new seriousness on his face, distinct from the owlish solemnity which was the pose of his humour.
“It is very difficult,” he said at last. “It is a damned difficult thing. I see what you mean...I agree with you even up to a point...or I should like to agree with you, if I were young enough to be a prophet and poet. I feel a truth in everything you say until you come to the words ‘ Notting Hill.’ And then I regret to say that the old Adam awakes roaring with laughter and makes short work of the new Adam, whose name is Wayne.”
For the first time Provost Wayne Was silent, and stood gazing dreamily at the floor. Evening was closing in, and the room had grown darker.
“I know,” he said, in a strange, almost sleepy voice, “there is truth in what you say, too. It is hard not to laugh at the common names...I only say we should not. I have thought of a remedy; but such thoughts are rather terrible.”
“What thoughts?” asked Auberon.
The Provost of Notting Hill seemed to have fallen into a kind of trance; in his eyes was an elvish light.
“I know of a magic wand, but it is a wand that only one or two may rightly use, and only seldom. It is a fairy wand of great fear, stronger than those who use it...often frightful, often wicked to use. But whatever is touched with it is never again wholly common. Whatever is touched with it takes a magic from outside the world. If I touch, with this fairy wand, the railways and the roads of Notting Hill, men will love them, and be afraid of them for ever.”
“What the devil are you talking about?” asked the King.
“It has made mean landscapes magnificent, and hovels outlast cathedrals,” went on the madman. “Why should it not make lampposts fairer than Greek lamps, and an omnibus ride like a painted ship? The touch of it is the finger of a strange perfection.”
“What is your wand?” cried the King, impatiently.
“There it is,” said Wayne; and pointed to the floor, where his sword lay flat and shining.
“The sword!” cried the King; and sprang up straight on the dais.
“Yes, yes,” cried Wayne, hoarsely. “The things touched by that are not vulgar. The things touched by that...”
King Auberon made a gesture of horror.
“You will shed blood for that!” he cried. “For a cursed point of view...”
“Oh, you kings, you kings,” cried out Adam, in a burst of scorn. “How humane you are, how tender, how considerate. You will make war for a frontier, or the imports of a foreign harbour; you will shed blood for the precise duty on lace, or the salute to an admiral. But for the things that make life itself worthy or miserable...how humane you are. I say here, and I know well what I speak of, there were never any necessary wars but the religious wars. There were never any just wars but the religious wars. There were never any humane wars but the religious wars. For these men were fighting for something that claimed, at least, to be the happiness of a man, the virtue of a man. A Crusader thought, at least, that Islam hurt the soul of every man, king or tinker, that it could really capture. I think Buck and Barker and these rich vultures hurt the soul of every man, hurt every inch of the ground, hurt every brick of the houses, that they can really capture. Do you think I have no right to fight for Notting Hill, you whose English Government has so often fought for tomfooleries? If, as your rich friends say, there are no gods, and the skies are dark above us, what should a man fight for, but the place where he had the Eden of childhood and the short heaven of first love? If no temples and no scriptures are sacred, what is sacred if a man’s own youth is not sacred?”
The King walked a little restlessly up and down the dais.
“It is hard,” he said, biting his lips, “to assent to a view so desperate...so responsible...”
As he spoke, the door of the audience chamber fell ajar, and through the aperture came, like the sudden chatter of a bird, the high, nasal, but well-bred voice of Barker.
“I said to him quite plainly...the public interests...”
Auberon turned on Wayne with violence.
“What the devil is all this? What am I saying? What are you saying? Have you hypnotized me? Curse your uncanny blue eyes! Let me go. Give me back my sense of humour. Give it me back. Give it me back, I say!”
“I solemnly assure you,” said Wayne, uneasily, with a gesture, as if feeling all over himself, “that I haven’t got it.”
The King fell back in his chair, and went into a roar of Rabelaisian laughter.
“I don’t think you have,” he cried.
BOOK III
CHAPTER I
THE MENTAL CONDITION OF ADAM WAYNE
A LITTLE while after the King’s accession a small book of poems appeared, called “Hymns of the Hill.” They were not good poems, nor was the book successful, but it attracted a certain amount of attention from one particular school of critics. The King himself, who was a member of the school, reviewed it in his capacity of literary critic to “Straight from the Stables,” a sporting journal. They were known as the Hammock School, because it had been calculated malignantly by an enemy that no less than thirteen of their delicate criticisms had begun with the words, “I read this book in a hammock; half asleep in the sleepy sunlight, I...”; after that there were important differences. Under these conditions they liked everything, but especially everything silly. “Next to authentic goodness in a book,” they said “next to authentic goodness in a book (and that, alas! we never find) we desire a rich badness.” Thus it happened that their praise (as indicating the presence of a rich badness) was not universally sought after, and authors became a little disquieted when they found the eye of the Hammock School fixed upon them with pecul
iar favour.
The peculiarity of “Hymns of the Hill” was the celebration of the poetry of London as distinct from the poetry of the country. This sentiment or affectation was, of course, not uncommon in the twentieth century, nor was it, although sometimes exaggerated, and sometimes artificial, by any means without a great truth at its root, for there is one respect in which a town must be more poetical than the country, since it is closer to the spirit of man; for London, if it be not one of the masterpieces of man, is at least one of his sins. A street is really more poetical than a meadow, because a street has a secret. A street is going somewhere, and a meadow nowhere. But, in the case of the book called “Hymns on the Hill,” there was another peculiarity, which the King pointed out with great acumen in his review. He was naturally interested in the matter, for he had himself published a volume of lyrics about London under his pseudonym of “Daisy Daydream.”
This difference, as the King pointed out, consisted in the fact that, while mere artificers like “Daisy Daydream” (on whose elaborate style the King, over his signature of “Thunderbolt,” was perhaps somewhat too severe) thought to praise London by comparing it to the country...using nature, that is, as a background from which all poetical images had to be drawn...the more robust author of “Hymns of the Hill” praised the country, or nature, by comparing it to the town, and used the town itself as a background. “Take,” said the critic, “the typically feminine lines, ‘ To the Inventor of the Hansom Cab’”
‘ Poet, whose cunning carved this amorous shell,
Where twain may dwell.’
“Surely,” wrote the King, “no one but a woman could have written those lines. A woman has always a weakness for nature; with her, art is only beautiful as an echo or shadow of it. She is praising the hansom cab by theme and theory, but her soul is still a child by the sea, picking up shells. She can never be utterly of the town, as a man can; indeed, do we not speak (with sacred propriety) of ‘a man about town’? Who ever spoke of a woman about town? However much, physically, ‘about town’ a woman may be, she still models herself on nature; she tries to carry nature with her; she bids grasses to grow on her head, and furry beasts to bite her about the throat. In the heart of a dim city, she models her hat on a flaring cottage garden of flowers. We, with our nobler civic sentiment, model ours on a chimney pot; the ensign of civilization. And rather than be without birds, she will commit massacre, that she may turn her head into a tree, with dead birds to sing on it.”
This kind of thing went on for several pages, and then the critic remembered his subject, and returned to it.
“Poet, whose cunning carved this amorous shell,
Where twain may dwell.”
“The peculiarity of these fine though feminine lines,” continued “Thunderbolt,” “is, as we have said, that they praise the hansom cab by comparing it to the shell, to a natural thing. Now, hear the author of ‘ Hymns of the Hill,’ and how he deals with the same subject. In his fine nocturne, entitled ‘ The Last Omnibus,’ he relieves the rich and poignant melancholy of the theme by a sudden sense of rushing at the end”
‘ The wind round the old street corner
Swung sudden and quick as a cab.’
“Here the distinction is obvious. ‘ Daisy Daydream’ thinks it a great compliment to a hansom cab to be compared to one of the spiral chambers of the sea. And the author of ‘ Hymns on the Hill’ thinks it a great compliment to the immortal whirlwind to be compared to a hackney coach. He surely is the real admirer of London. We have no space to speak of all his perfect applications of the idea; of the poem in which, for instance, a lady’s eyes are compared, not to stars, but to two perfect street-lamps guiding the wanderer. We have no space to speak of the fine lyric, recalling the Elizabethan spirit, in which the poet, instead of saying that the rose and the lily contend in her complexion, says, with a purer modernism, that the red omnibus of Hammersmith and the white omnibus of Fulham fight there for the mastery. How perfect the image of two contending omnibuses!”
Here, somewhat abruptly, the review concluded, probably because the King had to send off his copy at that moment, as he was in some want of money. But the King was a very good critic, whatever he may have been as King, and he had, to a considerable extent, hit the right nail on the head. “Hymns on the Hill” was not at all like the poems originally published in praise of the poetry of London. And the reason was that it was really written by a man who had seen nothing else but London, and who regarded it, therefore, as the universe. It was written by a raw, red-headed lad of seventeen, named Adam Wayne, who had been born in Notting Hill. An accident in his seventh year prevented his being taken away to the seaside, and thus his whole life had been passed in his own Pump Street, and in its neighbourhood. And the consequence was, that he saw the street-lamps as things quite as eternal as the stars; the two fires were mingled. He saw the houses as things enduring, like the mountains, and so he wrote about them as one would write about mountains. Nature puts on a disguise when she speaks to every man; to this man she put on the disguise of Notting Hill. Nature would mean to a poet born in the Cumberland hills, a stormy skyline and sudden rocks. Nature would mean to a poet born in the Essex flats, a waste of splendid waters and splendid sunsets. So nature meant to this man Wayne a line of violet roofs and lemon lamps, the chiaroscuro of the town. He did not think it clever or funny to praise the shadows and colours of the town; he had seen no other shadows or colours, and so he praised them...because they were shadows and colours. He saw all this because he was a poet, though in practice a bad poet. It is too often forgotten that just as a bad man is nevertheless a man, so a bad poet is nevertheless a poet.
Mr. Wayne’s little volume of verse was a complete failure; and he submitted to the decision of fate with a quite rational humility, went back to his work, which was that of a draper’s assistant, and wrote no more. He still retained his feeling about the town of Notting Hill, because he could not possibly have any other feeling, because it was the back and base of his brain. But he does not seem to have made any particular attempt to express it or insist upon it.
He was a genuine natural mystic, one of those who live on the border of fairyland. But he was perhaps the first to realize how often the boundary of fairyland runs through a crowded city. Twenty feet from him (for he was very short-sighted) the red and white and yellow suns of the gas-lights thronged and melted into each other like an orchard of fiery trees, the beginning of the woods of elf-land.
But, oddly enough, it was because he was a small poet that he came to his strange and isolated triumph. It was because he was a failure in literature that he became a portent in English history. He was one of those to whom nature has given the desire without the power of artistic expression. He had been a dumb poet from his cradle. He might have been so to his grave, and carried unuttered into the darkness a treasure of new and sensational song. But he was born under the lucky star of a single coincidence. He happened to be at the head of his dingy municipality at the time of the King’s jest, at the time when all municipalities were suddenly commanded to break out into banners and flowers. Out of the long procession of the silent poets who have been passing since the beginning of the world, this one man found himself in the midst of an heraldic vision, in which he could act and speak and live lyrically. While the author and the victims alike treated the whole matter as a silly public charade, this one man, by taking it seriously, sprang suddenly into a throne of artistic omnipotence. Armour, music, standards, watch-fires, the noise of drums, all the theatrical properties were thrown before him. This one poor rhymster, having burnt his own rhymes, began to live that life of open air and acted poetry of which all the poets of the earth have dreamed in vain; the life for which the Iliad is only a cheap substitute.
Upwards from his abstracted childhood, Adam Wayne had grown strongly and silently in a certain quality or capacity which is in modern cities almost entirely artificial, but which can be natural, and was primarily almost brutally natural in him, the
quality or capacity of patriotism. It exists, like other virtues and vices, in a certain undiluted reality. It is not confused with all kinds of other things. A child speaking of his country or his village may make every mistake in Mandeville or tell every lie in Munchausen, but in his statement there will be no psychological lies any more than there can be in a good song. Adam Wayne, as a boy, had for his dull streets in Notting Hill the ultimate and ancient sentiment that went out to Athens or Jerusalem. He knew the secret of the passion, those secrets which make real old national songs sound so strange to our civilization. He knew that real patriotism tends to sing about sorrows and forlorn hopes much more than about victory. He knew that in proper names themselves is half the poetry of all national poems. Above all, he knew the supreme psychological fact about patriotism, as certain in connection with it as that a fine shame comes to all lovers, the fact that the patriot never under any circumstances boasts of the largeness of his country, but always, and of necessity, boasts of the smallness of it.
All this he knew, not because he was a philosopher or a genius, but because he was a child. Any one who cares to walk up a side slum like Pump Street, can see a little Adam claiming to be king of a paving-stone. And he will always be proudest if the stone is almost too narrow for him to keep his feet inside it.
It was while he was in such a dream of defensive battle, marking out some strip of street or fortress of steps as the limit of his haughty claim, that the King had met him, and, with a few words flung in mockery, ratified for ever the strange boundaries of his soul. Thenceforward the fanciful idea of the defence of Notting Hill in war became to him a thing as solid as eating or drinking or lighting a pipe. He disposed his meals for it, altered his plans for it, lay awake in the night and went over it again. Two or three shops were to him an arsenal; an area was to him a moat; corners of balconies and turns of stone steps were points for the location of a culverin or an archer. It is almost impossible to convey to any ordinary imagination the degree to which he had transmitted the leaden London landscape to a romantic gold. The process began almost in babyhood, and became habitual like a literal madness. It was felt most keenly at night, when London is really herself, when her lights shine in the dark like the eyes of innumerable cats, and the outline of the dark houses has the bold simplicity of blue hills. But for him the night revealed instead of concealing, and he read all the blank hours of morning and afternoon, by a contradictory phrase, in the light of that darkness. To this man, at any rate, the inconceivable had happened. The artificial city had become to him nature, and he felt the curb-stones and gas-lamps as things as ancient as the sky.
The Napoleon of Notting Hill Page 7