And, in a sense, it had risen from the black waters of the pool. I was reading a few days ago, in a review of a grave book on psychology, the following very striking sentences:
The things which we distinguish as qualities or values are inherent in the real environment to make the configuration that they do make with our sensory response to them. There is such a thing as a "sad" landscape, even when we who look at it are feeling jovial; and if we think it is "sad" only because we attribute to it something derived from our own past associations with sadness, Professor Koffka gives us good reason to regard the view as superficial. That is not imputing human attributes to what are described as "demand characters" in the environment, but giving proper recognition to the other end of a nexus, of which only one end is organised in our own mind.
Psychology is, I am sure, a difficult and subtle science, which, perhaps naturally, must be expressed in subtle and difficult language. But so far as I can gather the sense of the passage which I have quoted, it comes to, this: that a landscape, a certain configuration of wood, water, height and depth, light and dark, flower and rock, is, in fact, an objective reality, a thing; just as opium and wine are things, not clotted fancies, mere creatures of our make-believe, to which we give a kind of spurious reality and efficacy. The dreams of De Quincey were a synthesis of De Quincey, plus opium; the riotous gaiety of Charles Surface and his friends was the product and result of the wine they had drunk, plus their personalities. So, the profound Professor Koffka--his book is called Principles of Gestalt Psychology--insists that the "sadness" which we attribute to a particular landscape is really and efficiently in the landscape and not merely in ourselves; and consequently that the landscape can affect us and produce results in us, in precisely the same manner as drugs and meat and drink affect us in their several ways. Poe, who knew many secrets, knew this, and taught that landscape gardening was as truly a fine art as poetry or painting; since it availed to communicate the mysteries to the human spirit.
And perhaps, Mrs. Morgan of Lanypwll Farm put all this much better in the speech of symbolism, when she murmured about the children of the pool. For if there is a landscape of sadness, there is certainly also a landscape of a horror of darkness and evil; and that black and oily depth, overshadowed with twisted woods, with its growth of foul weeds and its dead trees and leprous boughs was assuredly potent in terror. To Roberts it was a strong drug, a drug of evocation; the black deep without calling to the black deep within, and summoning the inhabitant thereof to come forth. I made no attempt to extract the legend of that dark place from Mrs. Morgan; and I do not suppose that she would have been communicative if I had questioned her. But it has struck me as possible and even probable that Roberts was by no means the first to experience the power of the pool. Old stories often turn out to be true.
* *
THE TERROR
1. The Coming of the Terror
After two years we are turning once more to the morning's news with a sense of appetite and glad expectation. There were thrills at the beginning of the war: the thrill of horror and of a doom that seemed at once incredible and certain; this was when Namur fell and the German host swelled like a flood over the French fields, and drew very near to the walls of Paris. Then we felt the thrill of exultation when the good news came that the awful tide had been turned back, that Paris and the world were safe; for awhile at all events.
Then for days we hoped for more news as good as this or better. Has von Kluck been surrounded? Not to-day, but perhaps he will be surrounded to-morrow. But the days became weeks, the weeks drew out to months; the battle in the west seemed frozen. Now and again things were done that seemed hopeful, with promise of events still better. But Neuve Chapelle and Loos dwindled into disappointments as their tale was told fully; the lines in the west remained, for all practical purposes of victory, immobile. Nothing seemed to happen, there was nothing to read save the record of operations that were clearly trifling and insignificant. People speculated as to the reason of this inaction; the hopeful said that Joffre had a plan, that he was "nibbling," others declared that we were short of munitions, others again that the new levies were not yet ripe for battle. So the months went by, and almost two years of war had been completed before the motionless English line began to stir and quiver as if it awoke from a long sleep, and began to roll onward, overwhelming the enemy.
The secret of the long inaction of the British armies has been well kept. On the one hand it was rigorously protected by the censorship, which severe, and sometimes severe to the point of absurdity--"the captains and the ... depart," for instance--became in this particular matter ferocious. As soon as the real significance of that which was happening, or beginning to happen, was perceived by the authorities, an underlined circular was issued to the newspaper proprietors of Great Britain and Ireland. It warned each proprietor that he might impart the contents of this circular to one other person only, such person being the responsible editor of his paper, who was to keep the communication secret under the severest penalties. The circular forbade any mention of certain events that had taken place, that might take place; it forbade any kind of allusion to these events or any hint of their existence, or of the possibility of their existence, not only in the press, but in any form whatever. The subject was not to be alluded to in conversation, it was not to be hinted at, however obscurely, in letters; the very existence of the circular, its subject apart, was to be a dead secret.