O give my love to Nancy,
The girl that I adore-
Tell her that she 'll never see
Her soldier any more-
Tell her I died in battle
Fighting with the black,
Every inch a soldier,
Beneath the Union Jack.
Dear naive old song, fitting climax of a feudal day, sweet with the freshness of those simple times, when art for art's sake was a shibboleth uninvented, and every other man was not diabolically clever! How many mothers and sisters wept over thy primitive pathos, as they knitted the Berlin wool-work! how many masculine hearts throbbed more manfully at the appeal of thy crude patriotism! To-day we analyse ruthlessly thy metre, proclaiming it the butterwoman's rank to market, and thy sentiment, which we dub pinchbeck, and we remember that the Union Jack is used only in the Navy; we are deaf to thy inspiration and dumb at thy chorus; we are sceptical as to thy soldier's love: Nancy, we know from realistic poets of the Barrack Room, took up with another young man before her month was out; and as for the black, he is the object of our devoutest solicitude. Go to! thou art surely a Gilbertian travesty, a deliciously droll compound of vulgar patriotism and maudlin pathos. And yet somehow there are tears on the smiling cheeks of the Man from Town. Let us go out and hear the nightingales and be sentimental under the moon. Hark how they precipitate their notes in a fine lyric rapture. This is the same "Jug, Jug, Jug," that called forth Keats' immortal ode. We cannot hear the birds' music for itself; it comes to us through melodious chimes of poetry. Nature has been so filtered through human emotion, so passed and repassed through the alembic of poetic passion, that she has ceased to be natural. Little children and fools, on whom, according to the Talmud, the gift of prophecy devolved when the Temples fell, may still see her naked, but for the lettered man she is draped in lyric conventions. There is anthropomorphism in literature as well as in theology: for George Eliot Nature is steeped in humanity; she cannot see anything for itself. "Our delight in the sunshine on the deep-bladed grass to-day might be no more than the faint perception of wearied souls, if it were not for the sunshine and the grass in the far-off years which still live in us and transform our perception into love." I wonder if she ever wrote a pure description of scenery without psychological or mythological allusions. To a soul saturated with literary prepossessions, nightingales, like love and most things human, are apt to disappoint and disenchant.
Heard melodies are sweet, but those unheard Are sweeter.
The cultured American, who has no nightingales at home-not even big ones-and who arranges to hear an English nightingale between a performance at Ober-Ammergau and an exploration of the Catacombs of Paris, often wants his money back after the songster "on yon bloomy spray" has "warbled at eve when all the woods are still." He has been expecting something like a song of Patti accompanied on the piano by Paderewski. It was an American poetess-Mrs. Piatt-who informed the skylark:
The song thou sang'st to Shelley was not half So sweet as that which Shelley sang to theel
After all, birds repeat themselves sadly-they strike one note, like a minor poet, and live on the reputation of their first success. It is amusing for a few minutes to hear a clever bird giving imitations of the cuckoo clock, but the joke palls. The Archdeacon's Daughter has a wider repertoire. And so? though the nightingales are still singing, conversation springs up in the copse as if it were a drawing-room and the singers human. My host discourses of the litter of pigs just arrived from the Great Nowhere, and dilates upon the fact that of the 3,423,807 pigs in England no two tails are curled alike. Perhaps even so no two nightingales curl their phrase identically, and one roulade differeth from another in glory.
PARIS
Decidedly the Parisian atmosphere is charged with artistic electricity. The play, the novel and the picture flourish on the same stem, and the very advertisement posters tell their lies artistically. Paris is the metropolis of ideas. You may catch them there and set up as a prophet on the strength of a fortnight's holiday. Maeterlinck says he learnt all he knows from a man he met in a brasserie. Fancy picking up ideas in a pothouse! In London you could only pick up "h's." The reverse of the medal is the morbidity that ideas and brasseries engender. In the cafes of the Boule Miehe, where the decadent movements are hatched and the fledgling Verlaines come to drown theusorrows in vermouth, you may see the lacklustre visages and tumbled hair of "diabolical" poets and the world-weary figures of end-of-the-century youngsters pledging their mistresses in American grog.
But the great heart of the People, that beats still to the homely old music, and you shall find no trace of morbidity in the melodramas of the Porte-St.-Martin or the music-halls of the people's quarter. To-day is the Gingerbread Fair-La Foire au Pain d'Epices; and Tout Paris-that is to say, everybody who isn't anybody-is elbowing its way towards the centre of gaiety. Tramcars deposit their packed freights near the Bastile, and where the women of the Revolution knitted, feeding their eyes on blood, bonnetless old crones sit drinking red wine in the sun. The sky is radiantly blue, and there is a music of merry-go-rounds. They are far more elegant than our English merry-go-rounds, these carrousels, hung with tapestry, and offering you circumambient palanquins or even elephants. Before a toy stage, on which a mechanical skirt-dancer disports herself with a tireless smile, an automatic chef-d'orchestre conducts the revolutionary march (none other than "Ta-ra-ra-Boom-de-ay") while grotesque figures strike stiffly at bells. On the pavement an old man has spread for sale a litter of broken dolls, blind, halt and lame, when not decapitated; and in the roadway the festive crowd splits to allow the passage of a child's coffin covered with white flowers. The air thrills with the "ping" of unsuccessful shots: I take a gun, and by aiming at a ball dancing on a fountain jet, hit a bull's-eye two yards to the left. I throw flat rings at a sort of ninepins, five shots for a halfpenny: the first four leave the pins stolid and the public derisive. I throw the last at random, bring down half the pins, and stalk off: nonchalantly, the pet of the fickle French populace. I buy pancakes fried on the stall while you wait-they are selling like hot cakes-and but for the difficulty of finding one with my name picked out in pink on the gingerbread, I would buy a pig and hang it on my breast. Some of the pigs have mottoes instead of names:
De toute la creation O'est moi le plus cochon.
Another asserts:
De la tete a la queue Je suis delcieux.
I ignore the pigs, but I pacify local prejudice by buying two gingerbread sailors-a Russian and a French-shaking hands in symbolisation of the Russo-French alliance, and I further prove myself a patriot by throwing bright wooden balls into the mouth of a great-faced German, for which I receive the guerdon of a paper rose and a Berlin wool monkey. I purchase a ticket from a clown standing on a platform begirt by noisy cages, and partake in a raffle for a live turkey; but fortunately I am spared the task of carrying it through the Fair, and not wishing to tempt Providence again, I content myself with trying for soap. A pack of cards is spread round a wheel with an index: round goes the wheel, and whoever has the card at which the index stops gets an orange, or if he likes to save up his oranges exchanges them for a box of soap. You get four cards for two sous, but I take all the pack. Round goes the wheel imperturbably. It stops. Amid the breathless anxiety of the crowd I examine my cards, and invariably find myself the fortunate possessor of the winning one. But, by some mysterious arithmetic, which amuses the crowd, every time I win I have to pay several sous. By such roundabout methods I ultimately arrive at the soap. I have my portrait taken, allured by the "only a franc." My image has a degenerate air; the photographer informs me it will not stay unless he fixes it with enamel-which will be another franc. By the time it is framed it has come up to six francs, and then, as I leave, the attendant begs I will remember him! I give him the photograph, and depart, hoping he will remember me. At the Place de la Nation the fun grows thicker: there is a rain of confetti, and everybody comes out in coloured spots; the switchback is busy, chairs mount and descend on ropes, and there is a bunch of balloons; on a platform outside a booth a showman beats a drum, the riding-master cracks his whip, and ladies of uncertain ages and exuberant busts smile all day in evening dress; in the neighbouring Cirque the Ball of the City of Paris is whirling noisily. Yes, life goes on in the old, old way in the land of equality and brotherhood; and the "red fool-fury of the Seine" is but a froth on the surface. The "Twilight of the Peoples" is the morbid vision of a myopic seer. With which reflection we will leave Sanity Fair.