Leaves in the Wind

ON TALK AND TALKERS

The other day I went to dine at a house known for the brilliancy of the conversation. I confess that I found the experience a little trying. In conversation I am naturally rather a pedestrian person. The talk I like is the talk which Washington Irving had in mind when he said that "that is the best company in which the jokes are rather small and the laughter abundant." I do not want to be expected to be brilliant or to be dazzled by verbal pyrotechnics. I like to talk in my slippers, as it were, with my legs at full stretch, my mind at ease, and with all the evening before me. Above all, I like the company of people who talk for enjoyment and not for admiration. "I am none of those who sing for meat, but for company," says Isaac Walton, and therein is the secret of good talk as well as of cheerful song. But at this dinner table the conversation flashed around me like forked lightning. It was so staccato and elusive that it seemed like talking in shorthand. It was a very fencing match of wit and epigram, a sort of game of touch-and-go, or tip-and-run, or catch-as-catch-can, or battledore and shuttlecock, or demon patience, or anything you like that is intellectually and physically breathless and baffling. I thought of a bright thing to say now and then, but I was always so slow in getting away from the mark that I never got it out. It had grown stale and out of date before I could invest it with the artistic merit that would enable it to appear in such brilliant company. And so, mentally out of breath, I just sat and felt old-fashioned and slow, and tried to catch the drift of the sparkling dialogue. But I looked as wise as possible, just to give the impression that nothing was escaping me, and that the things I did not say were quite worth saying. That was Henry Irving's way when the conversation got beyond him. He just looked wise and said nothing.

There are few things more enviable than the quality of good talk, but this was not good talk. It was clever talk, which is quite a different thing. There was no "stuff" in it. It was like trying to make a meal off the east wind, which it resembled in its hard brilliancy and lack of geniality. It reminded me of the tiresome witticisms of Mr. Justice Darling, who always gives the impression of having just come into court from the study of some jest book or a volume of appropriate quotations. The foundation of good talk is good sense, good nature, and the gift of fellowship. Given these things you may serve them up with the sauce of wit, but wit alone never made good conversation. It is like mint sauce without the lamb.

Fluent talkers are not necessarily good conversationalists. Macaulay talked as though he were addressing a public meeting, and Coleridge as though he were engaged in an argument with space and eternity. "If any of you have got anything to say," said Samuel Rogers to his guests at breakfast one morning, "you had better say it now you have got a chance. Macaulay is coming." And you remember that whimsical story of Lamb cutting off the coat button that Coleridge held him by in the garden at Highgate, going for his day's work into the City, returning in the evening, hearing Coleridge's voice, looking over the hedge and seeing the poet with the button between forefinger and thumb still talking into space. His life was an unending monologue. "I think, Charles, that you never heard me preach," said Coleridge once, speaking of his pulpit days. "My dear boy," answered Lamb, "I never heard you do anything else."

Johnson's talk had the quality of conversation, because, being a clubbable man, he enjoyed the give-and-take and the cut-and-thrust of the encounter. He liked to "lay his mind to yours," as he said of Thurlow, and though he was more than a little "huffy" on occasion he had that wealth of humanity which is the soul of hearty conversation. He quarrelled heartily and forgave heartily – as in that heated scene at Sir Joshua's when a young stranger had been too talkative and knowing and had come under his sledge hammer. Then, proceeds Boswell, "after a short pause, during which we were somewhat uneasy; – Johnson: Give me your hand, Sir. You were too tedious and I was too short. – Mr. – : Sir, I am honoured by your attention in any way. – Johnson: Come, Sir, let's have no more of it. We offend one another by our contention; let us not offend the company by our compliments." He always had the company in mind. He no more thought of talking alone than a boxer would think of boxing alone, or the tennis player would think of rushing up to the net for a rally alone. He wanted something to hit and something to parry, and the harder he hit and the quicker he parried the more he loved the other fellow. That is the way with all the good talkers of our own time. Perhaps Mr. Belloc is too cyclonic and scornful for perfect conversation, but his energy and wit are irresistible. I find Mr. Bernard Shaw far more tolerant and much less aggressive in conversation than on paper or on the platform. But the princes of the art, in my experience, are Mr. Birrell, Lord Morley, and Mr. Richard Whiteing, the first for the rich wine of his humour, the second for the sensitiveness and delicacy of his thought, the third for the deep love of his kind that warms the generous current of his talk. I would add Mr. John Burns, but he is really a soloist. He is too interesting to himself to be sufficiently interested in others. When he is well under way you simply sit round and listen. It is capital amusement, but it is not conversation.

It is not the man who talks abundantly who alone keeps the pot of conversation boiling. Some of the best talkers talk little. They save their shots for critical moments and come in with sudden and devastating effect. Lamb had that art, and his stammer was the perfect vehicle of his brilliant sallies. Mr. Arnold Bennett in our time uses the same hesitation with delightful effect – sometimes with a shattering truthfulness that seems to gain immensely from the preliminary obstruction that has to be overcome. And I like in my company of talkers the good listener, the man who contributes an eloquent silence which envelops conversation in an atmosphere of vigilant but friendly criticism. Addison had this quality of eloquent silence. Goldsmith, on the other hand, would have liked to shine, but had not the gift of talk. Among the eloquent listeners of our day I place that fine writer and critic, Mr. Robert Lynd, whose quiet has a certain benignant graciousness, a tolerant yet vigilant watchfulness, that adds its flavour to the more eager talk of others.

It was a favourite fancy of Samuel Rogers that "perhaps in the next world the use of words may be dispensed with – that our thoughts may stream into each other's minds without any verbal communication." It is an idea which has its attractions. It would save time and effort, and would preserve us from the misunderstandings which the clumsy instrument of speech involves. I think, as I sit here in the orchard by the beehive and watch the bees carrying out their myriad functions with such disciplined certainty, that there must be the possibility of mutual understanding without speech – an understanding such as that which Coleridge believed humanity would have discovered and exploited if it had been created mute.

And yet I do not share Rogers's hope. I fancy the next world will be like this, only better. I think it will resound with the familiar speech of our earthly pilgrimage, and that in any shady walk or among any of the fields of asphodel over which we wander we may light upon the great talkers of history, and share in their eternal disputation. There, under some spreading oak or beech, I shall hope to see Carlyle and Tennyson, or Lamb and Hazlitt and Coleridge, or Johnson laying down the law to Langton and Burke and Beauclerk, with Bozzy taking notes, or Ben Jonson and Shakespeare continuing those combats of the Mermaid Tavern described by Fuller – the one mighty and lumbering like a Spanish galleon, the other swift and supple of movement like an English frigate – or Chaucer and his Canterbury pilgrims still telling tales on an eternal May morning. It is a comfortable thought, but I cannot conceive it without the odd, cheerful din of contending tongues. I fancy edging myself into those enchanted circles, and having a modest share in the glorious pow-wows of the masters. I hope they won't vote me a bore and scatter at my approach.

ON A VISION OF EDEN

I had a glimpse of Eden last night. It came, as visions should come, out of the misery of things. In all these tragic years no night spent in a newspaper office had been more depressing than this, with its sense of impending peril, its disquieting communiqué, Wytschaate lost, won, lost again; the eager study of the map with its ever retreating British line; the struggle to write cheerfully in spite of a sick and foreboding heart – and then out into the night with the burden of it all hanging like a blight upon the soul. And as I stood in the dark and the slush and the snow by the Law Courts I saw careering towards me a motor-bus with great head-lights that shone like blast furnaces on a dark hillside. It seemed to me like a magic bus pounding through the gloom with good tidings, jolly tidings, and scattering the darkness with its jovial lamps. Heavens, thought I, what strangers we are to good tidings; but here surely they come, breathless and radiant, for such a glow never sat on the brow of fear. The bus stopped and I got inside, and inside it was radiant too – so brilliant that you could not only see that your fellow-passengers were real people of flesh and blood and not mere phantoms in the darkness, but that you could read the paper with luxurious ease.

But I did not read the paper. I didn't want to read the paper. I only wanted just to sit back and enjoy the forgotten sensation of a well-lit bus. It was as though at one stride I had passed out of the long and bitter night of the black years into the careless past, or forward into the future when all the agony would be a tale that was told. One day, I said to myself, we shall think nothing of a bus like this. All the buses will be like this, and we shall go galumphing home at midnight through streets as bright as day. The gloom will have vanished from Trafalgar Square and the fairyland of Piccadilly Circus will glitter once more with ten thousand lights singing the praises of Oxo and Bovril and Somebody's cigarettes and Somebody else's pills. We shall look up at the stars and not fear them and at the moon and not be afraid. The newspaper will no longer be a chronicle of hell, nor slaughter the tyrannical occupation of our thoughts.

And as I sat in the magic bus and saturated myself with this intoxicating vision of the Eden that will come when the madness is past, I wondered what I should do on entering that blessed realm that was lost and that we yearn to regain. Yes, I think I should fall on my knees. I think we shall all want to fall on our knees. What other attitude will there be for us? Even my barber will fall on his knees. "If I thought peace was coming to-morrow," he said firmly the other day, "I'd fall on my knees this very night." He spoke as though nothing but peace would induce him to do such a desperate, unheard-of thing. I tried to puzzle out his scheme of faith, but found it beyond me. It rather resembled the naked commercialism of King Theebaw, who when his favourite wife lay ill promised his gods most splendid gifts if she recovered, and when she died brought up a park of artillery and blew their temple down. But my barber, nevertheless, had the root of the matter in him, and I would certainly follow his example.

But then – what then? Well I should want to get on to some high and solitary place – alone, or with just one companion who knows when to be silent and when to talk – there to cleanse my soul of this debauch of horror. I would take the midnight train and ho! for Keswick. And in the dawn of a golden day – it must be a golden day – I would see the sun and set out by the lapping waves of Derwentwater for glorious Sty Head and hear the murmurs from Glaramara's inmost caves and scramble up Great Gable and over by Eskhause and Scafell and down into the green pastures of Langdale. And there in that sanctuary with its starry dome and its encompassing hills I should find the thing I sought.

Then, like the barber, I shall be moved to do something desperate. I shall want some oblation to lay on the altar, and if I know my companion he will not have forgotten his hundred foot of rope or his craft of the mountains and together we will

And then, the consecration and the offering complete, back to the world that is shuddering, white-faced and wondering, into its Paradise Regained… Why, here is St. John's Wood already. And Lord's! Of course, I must have a day at Lord's. It will be a part of the ritual of reconciliation. The old players will not be there, for the gulf with the past is wide and the bones of many a great artist lie on distant fields. But we must recapture their music and pay homage to their memory. Yes, I will take my lunch to Lord's – or perchance the Oval – and sit in the sunshine and hear the merry tune of bat and ball, and walk over the greensward in the interval and look at the wicket, and talk for a whole day with my companion of the giants of old and of the doughty things we have seen them do. Haig and Hindenburg, Tirpitz and Jellicoe, all the names that have filled our nightmare shall be forgotten: there shall fall from our lips none but the names of the goodly game – "W.G." and Ranji, Johnny Briggs and Lohmann, Spofforth and Bonner, Ulyett and Barnes (a brace of them) and all the jolly host. We'll not forget one of them. Not one. For a whole day we will go it, hammer and tongs.

And there are ever so many more things I shall want to do. I shall want to go and see the chestnuts at Bushey Park on Chestnut Sunday. I shall want to send Christmas cards, and light bonfires on the Fifth, and make my young friends April fools on the First, and feel what a tennis racket is like, and have hot cross buns on Good Friday and pancakes on Shrove Tuesday. I shall want to go and sit on the sands and hear nigger minstrels again, and talk about the prospects of the Boat Race, and take up all the pleasant threads of life that fell from our hands nearly four years ago. In short, I shall plunge into all the old harmless gaieties that we have forgotten, have no time for, no heart for, no use for to-day.

But the bus has stopped and I am turned out of Eden into the snow and the slush and the never-ending night. The magic chariot goes on with its blazing lights, and a bend in the road quenches the pleasant vision in darkness.

ON A COMIC GENIUS

"Like to see Harry Lauder? Of course I should like to see Harry Lauder. But how can I decently go and see Harry Lauder with Lord Devonport putting us on rations, with every hoarding telling me that extravagance is a crime, and with Trafalgar Square aflame with commands to me to go to the bank or the post-office and put every copper I have, as well as every copper I can borrow, into the War Loan? Do you realise that the five shillings I should pay for a seat to see Harry Lauder would, according to the estimate of the placards on the walls, buy thirty-one and a half bullets to send to the Germans? Now, on a conservative estimate, those thirty-one and a half bullets ought to – "

"My dear fellow, Harry Lauder has subscribed £52,000 to the War Loan. In going to see him, therefore, you are subscribing to the War Loan. You are making him your agent. You pass the cash on to him and he passes the bullets on to the Germans. It is a patriotic duty to go and see Harry Lauder."

I fancy the reasoning was more ingenious than sound, but it seemed a good enough answer to the hoardings, and I went. It was a poor setting for the great man – one of those dismal things called revues, that are neither comedies nor farces, nor anything but shambling, hugger-mugger contraptions into which you fling anything that comes handy, especially anything that is suggestive of night-clubs, fast young men and faster young women. I confess that I prefer my Harry without these accompaniments. I like him to have the stage to himself. I like Miss Ethel Levy to be somewhere else when he is about. I do not want anything to come between me and the incomparable Harry any more than I want anyone to help me to appreciate the Fifth Symphony by beating time with his foot and humming the melody.

And for the same reason. The Fifth Symphony or any other great work of art creates a state of mind, a spiritual atmosphere, that is destroyed by any intrusive and alien note. And it is this faculty of creating a state of feeling, an authentic atmosphere of his own, that is the characteristic of the art of Harry Lauder, and the secret of the extraordinary influence he exercises over his public. If you are susceptible to that influence the entrance of the quaint figure in the Scotch cap, the kilt and the tartan gives you a sensation unlike anything else on the stage or in life. Like Bottom, you are translated. Your defences are carried by storm, your severities disperse like the mist before the sun, you are no longer the man the world knows; you are a boy, trooping out from Hamelin town with other boys to the piping of the magician. The burden has fallen off your back, the dark mountain has opened like a gateway into the realms of light and laughter, and you go through, dancing happy, to meet the sunshine.

This atmosphere is not the result of conscious art or of acting in the professional sense. It would even be true to say that Harry Lauder is not an actor at all. Contrast him with the other great figure of the music-hall stage in this generation, Albert Chevalier, and you will understand what I mean. Chevalier is never himself, but always somebody else, and that somebody else is astonishingly real – an incomparable coster, a serio-comic decayed actor, a simple old man celebrating the virtues of his "Old Dutch." With his great powers of observation and imitativeness he gives you a subtle study of a type. He is so much of an artist that his own personality never occurs to you. If Chevalier came on as Chevalier you would not know him.

But Harry Lauder is the most personal thing on the stage. You do not want him to imitate someone else: you want him to be just himself. It doesn't much matter what he does, and it doesn't much matter how often you have seen him do it. In fact, the oftener you have seen him do it the better you like it. His jokes may be old, but they are never stale. They ripen and mellow with time; they are like old friends and old port that grow better with age. His songs may be simple and threadbare. You don't care. You just want him to go on singing them, singing about the bluebells in the dells and the bonnie lassie, and the heather-r, the bonnie pur-r-ple heather-r, and pausing to explain to you the thrifty terms on which he has bought "the ring." You want to see him walk, you want to see him skip – oh, the incomparable drollery of that demure little step! – you want to hear him talk, you want to hear him laugh. In short, you just want him to be there doing anything he likes and making you happy and idyllic and childlike and forgetful of all the burden and the mystery of this inexplicable world.

He has art, of course – great art; a tuneful voice; a rare gift of voice-production, every word coming full and true, and with a delicate sense of value; a shrewd understanding of the limits of his medium; a sly, dry humour which makes his simple rusticity the vehicle of a genial satire. And his figure and his face add to his equipment. His walk is priceless. His legs – oh, who shall describe those legs, those exiguous legs, so brief and yet so expressive? Clothed in his kilt and his tartan, he is grotesque and yet not grotesque, but whimsical, droll, a strange mixture of dignity and buffoonery. Your first impulse is to laugh at him, your next and enduring impulse is to laugh with him. You cannot help laughing with him if you have a laugh in you, for his laugh is irresistible. It is so friendly and companionable, so full of intimacies, so open and sunny.

He comes to the footlights and talks, turns out his pockets and tells you the history of the contents, or gossips of the ways of sailors, and you gather round like children at a fair. The sense of the theatre has vanished. You are not listening to an actor, but to an old friend who is getting nearer and nearer to you all the time, until he seems to have got you by the button and to be telling his drolleries to you personally and chuckling in your own private ear. There is nothing comparable to this intimacy between the man and his audience. It is the triumph of a personality, so expansive, so rich in the humanities, so near to the general heart, that it seems a natural element, a sort of spirit of happiness, embodied and yet all-pervasive.

But perhaps you, sir, have not fallen under the spell. If so, be not scornful of us who have. Be sorry for yourself. Believe me, you have missed one of the cheerful experiences of a rather drab world.

ON A VANISHED GARDEN

I was walking with a friend along the Spaniards Road the other evening, talking on the inexhaustible theme of these days, when he asked: "What is the biggest thing that has happened to this country as the outcome of the war?"

"It is within two or three hundred yards from here," I replied. "Come this way and I'll show it to you."

He seemed a little surprised, but accompanied me cheerfully enough as I turned from the road and led him through the gorse and the trees towards Parliament Fields, until we came upon a large expanse of allotments, carved out of the great playground, and alive with figures, men, women, and children, some earthing up potatoes, some weeding onion beds, some thinning out carrots, some merely walking along the patches and looking at the fruits of their labour springing from the soil. "There," I said, "is the most important result of the war."

He laughed, but not contemptuously. He knew what I meant, and I think he more than half agreed.

And I think you will agree, too, if you will consider what that stretch of allotments means. It is the symptom of the most important revival, the greatest spiritual awakening this country has seen for generations. Wherever you go that symptom meets you. Here in Hampstead allotments are as plentiful as blackberries in autumn. A friend of mine who lives in Beckenham tells me there are fifteen hundred in his parish. In the neighbourhood of London there must be many thousands. In the country as a whole there must be hundreds of thousands. If dear old Joseph Pels could revisit the glimpses of the moon and see what is happening, see the vacant lots and waste spaces bursting into onion beds and potato patches, what joy would be his! He was the forerunner of the revival, the passionate pilgrim of the Vacant Lot; but his hot gospel fell on deaf ears, and he died just before the trumpet of war awakened the sleeper.

Do not suppose that the greatness of this thing that is happening can be measured in terms of food. That is important, but it is not the most important thing. The allotment movement will add appreciably to our food supplies, but it will add far more to the spiritual resources of the nation. It is the beginning of a war on the disease that is blighting our people. What is wrong with us? What is the root of our social and spiritual ailment? Is it not the divorce of the people from the soil? For generations the wholesome red blood of the country has been sucked into the great towns, and we have seen grow up a vast machine of industry that has made slaves of us, shut out the light of the fields from our lives, left our children to grow like weeds in the slums, rootless and waterless, poisoned the healthy instincts of nature implanted in us, and put in their place the rank growths of the streets. Can you walk through a London working-class district or a Lancashire cotton town, with their huddle of airless streets, without a feeling of despair coming over you at the sense of this enormous perversion of life into the arid channels of death? Can you take pride in an Empire on which the sun never sets when you think of the courts in which, as Will Crooks says, the sun never rises?