After the Fireworks (34 page)

My Uncle Spencer was spiritually a cousin of these Hyde Park orators and higher critics. He had all their passion for enlightenment and profound ideas, but not content with concentrating, like them, on a single subject such as the Bible, he allowed himself to be attracted by everything under the sun. The whole field of history, of science (or rather what my Uncle Spencer thought was science), of philosophy, religion, and art was his province. He had their industry too—an industry, in his case, rather erratic, fitful, and inconstant; for he would start passionately studying one subject, to turn after a little while to another whose aspect seemed to him at the moment more attractive. And like them he displayed—
though to a less pronounced degree, since his education had been rather better than theirs (not much better, however, for he had never attended any seat of learning but one of our oldest and most hopeless public schools)—he displayed a vast unawareness of contemporary thought and an uncritical faith in authorities which to a more systematically educated man would have seemed quite obviously out of date; coupled with a profound ignorance of even the methods by which one could acquire a more accurate or at any rate a more ‘modern' and fashionable knowledge of the universe.

My Uncle Spencer had views and information on almost every subject one cared to mention; but the information was almost invariably faulty and the judgements he based upon it fantastic. What things he used to tell me as we sat facing one another in the corners of our first-class carriage, with the prawns piled up in a little coralline mountain on the folding table between us! Fragments of his eager talk come back to me.

‘There are cypresses in Lombardy that were planted by Julius Cæsar. . . .'

‘The human race is descended from African pygmies. Adam was black and only four feet high . . .'

‘
Similia similibus curantur.
*
Have you gone far enough with your Latin to know what that means?' (My Uncle Spencer was an enthusiastic homœopathist, and the words of Hahnemann were to him as a mystic formula, a kind of
Om mani padme bum
,
^†
the repetition of which gave him an immense spiritual satisfaction.)

And once, I remember, as we were passing through the
fabulous new station of Ghent—that station which fifteen or sixteen years later I was to see all smashed and gutted by the departing invaders—he began, apropos of a squad of soldiers standing on the platform, to tell me how a German professor had proved, mathematically, using the theories of ballistics and probabilities, that war was now impossible, modern quick-firing rifles and machineguns being so efficient that it was, as my Uncle Spencer put it, ‘sci-en-tif-ic-ally impossible' for any body of men to remain alive within a mile of a sufficient number of mitrailleuses, moving backwards and forwards through the arc of a circle and firing continuously all the time. I passed my boyhood in the serene certainty that war was now a thing of the past.

Sometimes he would talk to me earnestly across the prawns of the cosmogonies of Boehme or Swedenborg. But all this was so exceedingly obscure that I never took it in at all. In spite of my Uncle Spencer's ascendancy over my mind I was never infected by his mystical enthusiasms. These mental dissipations had been my Uncle Spencer's wild oats. Reacting from the rather stuffily orthodox respectability of his upbringing, he ran into, not vice, not atheism, but Swedenborg. He had preserved—a legacy from his prosperous nineteenth-century youth—an easy optimism, a great belief in progress and the superiority of modern over ancient times, together with a convenient ignorance of the things about which it would have been disquieting to think too much. This agreeable notion of the world I sucked in easily and copiously with my little crustaceans; my views about the universe and the destinies of man were as rosy in those days as the prawns themselves.

It was not till seven or eight o'clock in the evening that we finally got to our destination. My Uncle Spencer's
carriage—victoria or brougham, according to the season and the state of the weather—would be waiting for us at the station door. In we climbed and away we rolled on our rubbered wheels in a silence that seemed almost magical, so deafeningly did common carts and the mere station cabs go rattling over the cobbles of the long and dismal Rue de la Gare. Even in the winter, when there was nothing to be seen of it but an occasional green gas-lamp, with a little universe of pavement, brick wall and shuttered window dependent upon it and created by it out of the surrounding darkness, the Rue de la Gare was signally depressing, if only because it was so straight and long. But in summer, when the dismal brick houses by which it was flanked revealed themselves in the evening light, when the dust and the waste-paper came puffing along it in gusts of warm, stale-smelling wind, then the street seemed doubly long and disagreeable. But, on the other hand, the contrast between its sordidness and the cool, spacious Grand' Place into which, after what seemed a carefully studied preparatory twisting and turning among the narrow streets of the old town, it finally debouched, was all the more striking and refreshing. Like a ship floating out from between the jaws of a cañon into a wide and sunlit lake, our carriage emerged upon the Grand' Place. And the moment was solemn, breathlessly anticipated and theatrical, as though we were gliding in along the suspended calling of the oboes and bassoons, and the violins trembling with amorous anxiety all around us, rolling silently and with not a hitch in the stage carpentry on to some vast and limelit stage where, as soon as we had taken up our position well forward and in the centre, something tremendous, one imagined, would suddenly begin to happen—a huge orchestral tutti
from contrabass trombone to piccolo, from bell instrument to triangle, and then the tenor and soprano in such a duet as had never in all the history of opera been heard before.

But when it came to the point, our entrance was never quite so dramatic as all that. One found, when one actually got there, that one had mistaken one's opera; it wasn't
Parsifal
or
Rigoletto;
it was
Pelléas
or perhaps the
Village Romeo and Juliet.
For there was nothing grandiosely Wagnerian, nothing Italian and showy about the Grand' Place at Longres. The last light was rosy on its towers, the shadows of the promenaders stretched half across the place, and in the vast square the evening had room to be cool and quiet. The Gothic church had a sharp steeple and the seminary by its side a tower, and the little seventeenth-century Hôtel de Ville, with its slender belfry, standing in the middle of that open space as though not afraid to let itself be seen from every side, was a miracle of gay and sober architecture; and the houses that looked out upon it had faces simple indeed, burgess and ingenuous, but not without a certain nobility, not without a kind of unassuming provincial elegance. In, then, we glided, and the suspended oboeings of our entrance, instead of leading up to some grand and gaudy burst of harmony, fruitily protracted themselves in this evening beauty, exulted quietly in the rosy light, meditated among the lengthening shadows; and the violins, ceasing to tremble with anticipation, swelled and mounted, like light and leaping towers, into the serene sky.

And if the clock happened to strike at the moment that we entered, how charmingly the notes of the mechanical carillon harmonized with this imaginary music! At the hours, the bells in the high tower of the Hôtel de Ville played a
minuet and trio, tinkly and formal like the first composition of an infant Boccherini, which lasted till fully three minutes past. At the half-hours it was a patriotic air of the same length. But at the quarters the bells no more than began a tune. Three or four bars and the music broke off, leaving the listener wondering what was to have followed, and attributing to this fragmentary stump of an air some rich outflowering in the pregnant and musical silence, some subtle development which should have made the whole otherwise enchanting than the completed pieces that followed and preceded, and whose charm, indeed, consisted precisely in their old-fashioned mediocrity, in the ancient, cracked, and quavering sweetness of the bells that played them, and the defects in the mechanism, which imparted to the rhythm that peculiar and unforeseeable irregularity which the child at the piano, tongue between teeth, eyes anxiously glancing from printed notes to fingers and back again, laboriously introduces into the flawless evenness of ‘The Merry Peasant'.

This regular and repeated carillonage was and indeed still is—for the invaders spared the bells—an essential part of Longres, a feature like the silhouette of its three towers seen from far away between the poplars across the wide, flat land, characteristic and recognizable.

It is with a little laugh of amused delight that the stranger to Longres first hears the jigging airs and the clashes of thin, sweet harmony floating down upon him from the sky, note succeeding unmuted note, so that the vibrations mingle in the air, surrounding the clear outlines of the melody with a faint quivering halo of discord. After an hour or two the minuet and trio, the patriotic air, become all too familiar, while with every repetition the broken fragments at the
quarters grow more and more enigmatic, pregnant, dubious, and irritating. The pink light fades from the three towers, the Gothic intricacies of the church sink into a flat black silhouette against the night sky; but still from high up in the topless darkness floats down, floats up and out over the house-tops, across the flat fields, the minuet and trio. The patriotic air continues still, even after sunset, to commemorate the great events of 1830; and still the fragments between, like pencillings in the note-book of a genius, suggest to the mind in the scribble of twenty notes a splendid theme and the possibility of fifteen hundred variations. At midnight the bells are still playing; at half-past one the stranger starts yet again out of his sleep; re-evoked at a quarter to four his speculations about the possible conclusions of the unfinished symphony keep him awake long enough to hear the minuet and trio at the hour and to wonder how anyone in Longres manages to sleep at all. But in a day or two he answers the question himself by sleeping unbrokenly through the hints from Beethoven's note-book, and the more deliberate evocations of Boccherini's childhood and the revolution of 1830. The disease creates its own antidote, and the habit of hearing the carillon induces gradually a state of special mental deafness in which the inhabitants of Longres permanently live.

Even as a small boy, to whom insomnia was a thing unknown, I found the bells, for the first night or two after my arrival in Longres, decidedly trying. My Uncle Spencer's house looked on to the Grand' Place itself, and my window on the third floor was within fifty yards of the belfry of the Hôtel de Ville and the source of the aerial music. Three-year-old Boccherini might have been in the room with
me whenever the wind came from the south, banging his minuet in my ears. But after the second night he might bang and jangle as much as he liked; there was no bell in Longres could wake me.

What did wake me, however—every Saturday morning at about half-past four or five—was the pigs coming into market. One had to have spent a month of Saturdays in Longres before one could acquire the special mental deafness that could ignore the rumbling of cart-wheels over the cobbles and the squealing and grunting of two or three thousand pigs. And when one looked out what a sight it was! All the Grand' Place was divided up by rails into a multitude of pens and pounds, and every pound was seething with pink naked pigs that looked from above like so much Bergsonian
élan vital
in a state of incessant agitation. Men came and went between the enclosures, talking, bargaining, critically poking potential bacon or ham with the point of a stick. And when the bargain was struck, the owner would step into the pen, hunt down the victim, and, catching it up by one leather ear and its thin bootlace of a tail, carry it off amid grunts that ended in the piercing, long-drawn harmonics of a squeal to a netted cart or perhaps to some other pen a little farther down the line. Brought up in England to regard the infliction of discomfort upon an animal as being, if anything, rather more reprehensible than cruelty to my fellow-humans, I remember being horrified by this spectacle. So, too, apparently was the German army of occupation. For between 1914 and 1918 no pig in the Longres market might be lifted by tail or ear, the penalty for disobedience being a fine of twenty marks for the first offence, a hundred for the second, and after that a term of forced labour on the lines
of communication. Of all the oppressive measures of the invader there was hardly one which more profoundly irritated the Limbourgian peasantry. Nero was unpopular with the people of Rome, not because of his crimes and vices, not because he was a tyrant and a murderer, but for having built in the middle of the city a palace so large that it blocked the entrance to several of the main roads. If the Romans hated him, it was because his golden house compelled them to make a circuit of a quarter of a mile every time they wanted to go shopping. The little customary liberties, the right to do in small things what we have always done, are more highly valued than the greater, more abstract, and less immediate freedoms. And, similarly, most people will rather run the risk of catching typhus than take a few irksome sanitary precautions to which they are not accustomed. In this particular case, moreover, there was the further question: How
is
one to carry a pig except by its tail and ears? One must either throw the creature on its back and lift it up by its four cloven feet—a process hardly feasible, since a pig's centre of gravity is so near the ground that it is all but impossible to topple him over. Or else—and this is what the people of Longres found themselves disgustedly compelled to do—one must throw one's arms round the animal and carry it clasped to one's bosom as though it were a baby, at the risk of being bitten in the ear and with the certainty of stinking like a hog for the rest of the day.