Wings and the Child: or, The Building of Magic Cities

And one of the greatest helps to a small, inexperienced traveller in this sometimes dusty way is the likeness of things to each other. Your piece of thick bread and butter is a little stale, perhaps, and bores you; but, when you see that your first three bites have shaped it to the likeness of a bear or a beaver, dull teatime becomes interesting at once. A cloud that is like a face, a tree that is like an old man, a hill that is like an elephant's back, if you have things like these to look at, and look out for, how short the long walk becomes.

And in the garden, when the columbine is a circle of doves, with spread wings and beaks that touch, when the foxglove flower is a little Puck's hat which will fit on your finger, when the snapdragon is not just a snapdragon, but a dragon that will snap, and the poppies can be made into dolls with black woolly hair and grass sashes – how the enchantment of the garden grows. The child will be all the more ready to hear about the seed vessels of the columbine when he has seen the doves, and the pollen of the poppy will have a double interest for her who has played with the woolly-haired dolls. Imagination gives to the child a world transfigured; let us leave it that radiant mystery for the little time that is granted.

I know a child whose parents are sad because she does not love arithmetic and history, but rather the beautiful dreams which the Gradgrinds call nonsense. Here are the verses I wrote for that child:

FOR DOLLY

WHO DOES NOT LEARN HER LESSONS

You see the fairies dancing in the fountain,
Laughing, leaping, sparkling with the spray.
You see the gnomes, at work beneath the mountain,
Make gold and silver and diamonds every day.
You see the angels, sliding down the moonbeams,
Bring white dreams, like sheaves of lilies fair.
You see the imps scarce seen against the noonbeams,
Rise from the bonfire's blue and liquid air.

All the enchantment, all the magic there is
Hid in trees and blossoms, to you is plain and true.
Dewdrops in lupin leaves are jewels for the fairies;
Every flower that blows is a miracle for you.
Air, earth, water, fire, spread their splendid wares for you.
Millions of magics beseech your little looks;
Every soul your winged soul meets, loves you and cares for you.
Ah! why must we clip those wings and dim those eyes with books?

Soon, soon enough, the magic lights grow dimmer,
Marsh mists arise to veil the radiant sky.
Dust of hard highways will veil the starry glimmer;
Tired hands will lay the folded magic by.
Storm winds will blow through those enchanted closes,
Fairies be crushed where weed and briar grow strong…
Leave her her crown of magic stars and roses,
Leave her her kingdom – she will not keep it long!

CHAPTER V

Of Taking Root

When the history of our time comes to be written, it may be that the historian, remarking our many faults and weaknesses, and seeking to find a reason for them, speculating on our civilisation as we now speculate on the civilisations of Rome and Egypt, will come to see that the poor blossoms of civic virtue which we put forth owe their meagreness and deformity to the fact that our lives are no longer permitted to take root in material possessions. Material possessions indeed we have – too much of them and too many of them – but they are rather a dust that overlays the leaves of life than a soil in which the roots of life can grow.

A certain solidness of character, a certain quiet force and confidence grow up naturally in the man who lives all his life in one house, grows all the flowers of his life in one garden. To plant a tree and know that if you live and tend it, you will gather fruit from it; that if you set out a thorn-hedge, it will be a fine thing when your little son has grown to be a man – these are pleasures which none but the very rich can now know. (And the rich who might enjoy these pleasures prefer to run about the country in motor cars.) That is why, for ordinary people, the word "neighbour" is ceasing to have any meaning. The man who occupies the villa partially detached from your own is not your neighbour. He only moved in a month or so ago, and you yourself will probably not be there next year. A house now is a thing to live in, not to love; and a neighbour a person to criticise, but not to befriend.

When people's lives were rooted in their houses and their gardens they were also rooted in their other possessions. And these possessions were thoughtfully chosen and carefully tended. You bought furniture to live with, and for your children to live with after you. You became familiar with it – it was adorned with memories, brightened with hopes; it, like your house and your garden, assumed then a warm friendliness of intimate individuality. In those days if you wanted to be smart, you bought a new carpet and curtains: now you "refurnish the drawing-room." If you have to move house, as you often do, it seems cheaper to sell most of your furniture and buy other, than it is to remove it, especially if the moving is caused by a rise of fortune.

I do not attempt to explain it, but there is a certain quality in men who have taken root, who have lived with the same furniture, the same house, the same friends for many years, which you shall look for in vain in men who have travelled the world over and met hundreds of acquaintances. For you do not know a man by meeting him at an hotel, any more than you know a house by calling at it, or know a garden by walking along its paths. The knowledge of human nature of the man who has taken root may be narrow, but it will be deep. The unrooted man who lives in hotels and changes his familiars with his houses, will have a shallow familiarity with the veneer of acquaintances; he will not have learned to weigh and balance the inner worth of a friend.

In the same way I take it that a constant succession of new clothes is irritating and unsettling, especially to women. It fritters away the attention and exacerbates their natural frivolity. In other days when clothes were expensive, women bought few clothes, but those clothes were meant to last, and they did last. A silk dress often outlived the natural life of its first wearer. The knowledge that the question of dress will not be one to be almost weekly settled tends to calm the nerves and consolidate the character. Clothes are very cheap now – therefore women buy many new dresses, and throw the shoddy things away when, as they soon do, they grow shabby. Men are far more sensible. Every man knows the appeal of an old coat. So long as women are insensible to the appeal of an old gown, they need never hope to be considered, in stability of character, the equals of men.

The passion for ornaments – not ornament – is another of the unsettling factors in an unsettling age. The very existence of the "fancy shop" is not only a menace to, but an attack on the quiet dignity in the home. The hundreds of ugly, twisted, bizarre fancy articles which replace the old few serious "ornaments" are all so many tokens of the spirit of unrest which is born of, and in turn bears, our modern civilisation.

It is not, alas! presently possible for us as a nation to return to that calmer, more dignified state when the lives of men were rooted in their individual possessions, possessions adorned with memories of the past and cherished as legacies to the future. But I wish I could persuade women to buy good gowns and grow fond of them, to buy good chairs and tables, and to refrain from the orgy of the fancy shop. So much of life, of thought, of energy, of temper is taken up with the continual change of dress, house, furniture, ornaments, such a constant twittering of nerves goes on about all these things which do not matter. And the children, seeing their mother's gnat-like restlessness, themselves, in turn, seek change, not of ideas or of adjustments, but of possessions. Consider the acres of rubbish specially designed for children and spread out over the counters of countless toy-shops. Trivial, unsatisfying things, the fruit of a perverse and intense commercial ingenuity: things made to sell, and not to use.

When the child's birthday comes, relations send him presents – give him presents, and his nursery is littered with a fresh array of undesirable imbecilities – to make way for which the last harvest of the same empty husks is thrust aside in the bottom of the toy cupboard. And in a couple of days most of the flimsy stuff is broken, and the child is weary to death of it all. If he has any real toys, he will leave the glittering trash for nurse to put away and go back to those real toys.

When I was a child in the nursery we had – there were three of us – a large rocking horse, a large doll's house (with a wooden box as annexe), a Noah's Ark, dinner and tea things, a great chest of oak bricks, and a pestle and mortar. I cannot remember any other toys that pleased us. Dolls came and went, but they were not toys, they were characters, and now and then something of a clockwork nature strayed our way – to be broken up and disembowelled to meet the mechanical needs of the moment. I remember a desperate hour when I found that the walking doll from Paris had clockwork under her crinoline, and could not be comfortably taken to bed. I had a black-and-white china rabbit who was hard enough, in all conscience, but then he never pretended to be anything but a china rabbit, and I bought him with my own penny at Sandhurst Fair. He slept with me for seven or eight years, and when he was lost, with my play-box and the rest of its loved contents, on the journey from France to England, all the dignity of my thirteen years could not uphold me in that tragedy.

It is a mistake to suppose that children are naturally fond of change. They love what they know. In strange places they suffer violently from home-sickness, even when their loved nurse or mother is with them. They want to get back to the house they know, the toys they know, the books they know. And the loves of children for their toys, especially the ones they take to bed with them, should be scrupulously respected. Children nowadays have insanitary, dusty Teddy Bears. I had a "rag doll," but she was stuffed with hair, and was washed once a fortnight, after which nurse put in her features again with a quill pen, and consoled me for any change in her expression by explaining that she was "growing up." My little son had a soap-stone mouse, and has it still.

The fewer toys a child has the more he will value them; and it is important that a child should value his toys if he is to begin to get out of them their full value. If his choice of objects be limited, he will use his imagination and ingenuity in making the objects available serve the purposes of such plays as he has in hand. Also it is well to remember that the supplementing of a child's own toys by other things, lent for a time, has considerable educational value. The child will learn quite easily that the difference between his and yours is not a difference between the attainable and the unattainable, but between the constant possession and the occasional possession. He will also learn to take care of the things which are lent to him, and, if he sees that you respect his possessions, will respect yours all the more in that some of them are, now and then, for a time and in a sense, his.

The generosity of aunts, uncles, and relations generally should be kindly but firmly turned into useful channels. The purchase of "fancy" things should be sternly discouraged.

With the rocking horse, the bricks, the doll's house, the cart or wheel-barrow, the tea and dinner set, the Noah's Ark and the puzzle maps, the nursery will be rudimentarily equipped. The supplementary equipment can be added as it is needed, not by the sporadic outbursts of unclish extravagance, but by well-considered and slow degrees, and by means in which the child participates. For we must never forget that the child loves, both in imagination and in fact, to create. All his dreams, his innocent pretendings and make-believes, will help his nature to unfold, and his hands in their clumsy efforts will help the dreams, which in turn will help the little hands.

CHAPTER VI

Beauty and Knowledge

Clever young people find it amusing to sneer at the old-fashioned ideal of combining instruction with amusement – a stupid Victorian ideal, we are told, which a progressive generation has cast aside. Too hastily, perhaps – too inconsiderately. "Work while you work and play while you play" is a motto dealing with a big question, and one to which there are at least two sides. Entirely to divorce amusement and instruction – may not this tend to make the one dull and the other silly? In this, as in some other matters, our generation might well learn a little from its ancestors. In many ways no doubt we have far surpassed the simple ideals of our forefathers, but in the matter of amusements, in the matter of beauty, in the matter of teaching children things without boring them, or giving powders really and truly concealed in jam – have we advanced so much?

To begin with, the world is much uglier than it was. At least England is, and France, and Belgium, and Italy, and I do not suppose that Germany, so far ahead of us with airships, is far behind in the ugliness which seems to be, with the airship, the hall-mark of a really advanced nation.

We are proud, and justly, of the enormous advances made in the last sixty years in education, sanitation, and all the complicated and heavy machinery of the other 'ations, the 'ologies, and the 'isms; but in these other matters how is it with us? We have grown uglier, and the things which amuse no longer teach.

For a good many years now – more than three hundred – old men have said "Such things and such were better in our time." And always the young have disbelieved the saying, which in due course came from their own lips. Has it ever occurred to any one that the reason why old people say this is quite the simplest of all reasons? They say it because it is true, and true in our land in quite a special manner. The chariot wheels of advancing civilisation must always furrow some green fields, grind some fair flowers in the dust. But the chariot wheels in which civilisation to-day advances grows less and less like a chariot and more and more like a steam-roller, and unless we steer better there will very soon be few flowers left to us.

Those of us who have reached middle age already see that the old men spoke truly. Things are not what they were. Without dealing with frauds and adulterations and shoddy of all sorts we can see that things are not so good as they were, nor yet so beautiful.

And I do not think that this means just that we are growing old, and that the fingers of Time have rubbed the bloom from the fruit of Life. Because those things which must be now as they used to be, trees, leaves, rivers, and the laughter of little children, flowers, the sea at those points where piers are impracticable, and mountains – the ones stony and steep enough to resist the jerry-builder and the funicular railway – still hold all, and more than all, their old magic and delight.

It seems that it is not only that the ugly and unmeaning things have grown, like a filthy fungus, over the sheer beauty of the world, but that the things that people mean to be beautiful are not beautiful, and the things they mean to be interesting lack interest.

And the disease is universal: it attacks new things as well as old. The cinematographs even, newest of the new, as things went in the old world; already the canker has eaten them up. In the first year of Picture Palaces we all crowded to see beautiful pictures of beautiful places: Niagara, the Zambesi Falls, the Grand Cañon. The comic pieces were perhaps French, but they were certainly funny. Also we saw the way the world lived, when it was the other side of the world: "Elephants a-piling teak," naked savages, or as near naked as don't matter, moving in ceremonial dance before the idols that were the gods of their deep dangerous faith. Dramas of love and death and pity and poverty. Quite often in the early days the cinematograph tale was of some workman driven by want to the theft of a loaf. It is true that the story generally ended in his conviction and the adoption of his charming baby girl by the wife of the Juge d'Instruction, but all the same people saw some one poor and sad and tempted, and were sorry and sad for his sake. Also we had tales of Indians with men that rode amain, and horses that one longed to bestride, such beauties they were, all fire and delicate strong temperament. War dramas too there were, where the hero left his sweetheart, and turned coward perhaps, redeeming himself with magnificent completeness in the splendid débâcle of a forlorn hope. That is all over. Already the sordid, heavy hand that smears commercial commonplace on all the bright facets of romance has obscured the vivid possibilities of the cinematograph. We have now for fun the elaborate hurting of one American person by another American person; for scenery, American flat-iron buildings; for romance the incredibly unimportant emotions of fleshy American actresses and actors. There are two girls, good and bad; two men, bad and good. In the end the good man gets the good girl, which is, of course, as it should be, or would be if we could believe in any moral quality in these fat-faced impersonators. You don't care a bit who wins, but none the less, the four of them mouth and mop and mow and make faces at you through five interminable acts, and when the good young man marries the good young woman in a parlour grossly furnished according to American ideals, you feel that both of them are well punished for their unpardonable existence. All real and delicate romance has, we observe, been wiped out by the cinematograph.

It has long been the fashion to sneer at the Crystal Palace, and indeed the poor dear has gone from bad to worse. There are exhibitions there all exactly like all other exhibitions: Switch-backs, Montagnes Russes, Silhouettes, Tumble-scumbles, Weary waves, Threepenny thrills (where you hustle against strangers and shriek at the impact). But once the Crystal Palace was otherwise. In the Victorian days we sneer at, when our fathers could not see that there was any quarrel between knowledge and beauty, both of whom they loved, they built the Crystal Palace as a Temple vowed to these twin Deities of their worship. Think what the Crystal Palace was then. Think what its authors intended it to be. Think what, for a little time, it was. A place of beauty, a place where beauty and knowledge went hand in hand. It is quite true that a Brobdingnagian Conservatory does not seem so beautiful to us as it did to the Prince Consort and Sir Joseph Paxton. It is true that even in the palmiest days of the Crystal Palace you barked your shins over iron girders – painted a light blue, my memory assures me – and that the boards of the flooring were so far apart that you could lose, down the cracks of them, not only your weekly sixpence or your birthday shilling, but even the sudden unexpected cartwheel (do they still call a crown that?) contributed by an uncle almost more than human. It is true that the gravel of the paths in the "grounds" tired your feet and tried your temper, and that the adventure ended in a clinging to bony fingers and admonitions from nurse "not to drag so." But on the other hand…

Think of the imagination, the feeling for romance that went to the furnishing of the old Crystal Palace. There was a lake in the grounds of Penge Park. How would our twentieth century entrepreneurs deal with a lake? We need not pause to invent an answer. We know it would be something new and nasty. How did these despised mid-Victorians deal with it? They set up, amid the rocks and reeds and trees of the island in that lake, life-sized images of the wonders of a dead world. On a great stone crouched a Pterodactyl, his vast wings spread for flight. A mammoth sloth embraced a tree, and I give you my word that when you came on him from behind, you, in your six years, could hardly believe that he was not real, that he would not presently leave the tree and turn his attention to your bloused and belted self. (Little boys wore caps with peaks then, and blouses with embroidered collars.) Convinced, at last, by the cold feel of his flank to your fat little hand, that he was but stone, you kept, none the less, a memory of him that would last your life, and make his name, when you met it in a book, as thrilling as the name of a friend in the list of birthday honours. There was an Ichthyosaurus too, and another chap whose name I forget, but he had a scalloped crest all down his back to the end of his tail. And the Dinosaurus … he had a round hole in his antediluvian stomach: and, with a brother – his own turn to come next, as in honour bound – to give you a leg-up, you could explore the roomy interior of the Dinosaur with feelings hardly to be surpassed by those of bandits in a cave. It is almost impossible to over-estimate the Dinosaurus as an educational influence. On your way back to the Palace itself you passed Water Temples surrounded by pools where water-lilies grew. Afterwards, when you read of tanks and lotuses and India, you knew what to think.

There were Sphinxes – the correct plural was told you by aunts, and you rejected it on the terrace – and, within, more smooth water with marble at the edge and more lilies, and goldfish, palms, and ferns, and humming pervasive music from the organ. There were groves or shrubberies; you entered them a-tremble with a fearful joy. You knew that round the next corner or the next would be black and brown and yellow men; savages, with their huts and their wives and their weapons, their looking-glass-pools and their reed tunics, so near you that it was only a step across a little barrier and you could pretend that you also were a black, a brown, or a yellow person, and not a little English child in a tunic, belt, and peaked cap. You never took the step, but none the less those savages were your foes and your friends, and when you met them in your geography you thrilled to the encounter.

Further, there were Courts; I first met Venus, the armless wonder of Milo, and Hermes, embodied vision of Praxiteles, and the Discobolus, whom we all love, and who is exactly like Mr. Graham Wallas in youth, in the Grecian Court. In the Egyptian Court there were pictured pillars, and the very word Egypt is to me for their sake a Word of Power to this day. And the Spanish Court, the court of the Alhambra, the lovely mosaic, the gold and the blue and the red, the fountain, the marble, the strange unnatural beauty of the horseshoe arches…

I shall never see the Alhambra now, but it is because of the Spanish Court at the Crystal Palace that there will always be an empty ache in my thought, an ache of the heart, a longing that is not all pain, at its name, a feeling like a beautiful dwarf despair, in that I never shall see that blue and red and golden glory, and the mystery of its strange mis-shapen arches that open to the whole world of dreams.

Say of the Mid-Victorians what you will; they did at least know, when they set them, the seeds of Romance. Think of Euston Station: those glorious pillars, the magnificent dream of an Egyptian building to loom through the Egyptian darkness of London's fogs. And the architecture of Egypt was too expensive, and Euston remains, a magnificent memorial – the child of genius stunted by finance.

There was Madame Tussaud's too, a close link with the French Revolution: the waxen heads of kings and democrats, the very guillotine itself. And Madame Tussaud's daughter, with the breathing breast that seemed alive, and the little old woman in the black bonnet, Madame herself, who had seen the rise of Republics and the deaths of kings. These things, last time I trod those halls, were put in the shade, their place usurped by vulgar tableaux, explaining to the bored spectators what happens to a vulgar young man with a wife whose skirt is much too short in front and her hair very badly done, if he leaves his home for the society of sirens and cardsharpers. The tableaux were cheap and nasty, and taught one nothing that one could not learn from the Police News.