England Part 8

To record concrete facts, there is a great deal that is of musical interest to be explored in England. The capital has many excellent concert halls, where all the world's music from the cla.s.sics to the latest frenzies of neo-Impressionism can be heard. In the provinces, too, there are many fine musical organisations, and when the "Celtic fringe" comes to be encountered, as in Wales, there is a musical fervour to match that of the most ardent of the Latin races. So--even though opera in London is of social rather than of musical importance--the English cannot be condemned at the present day as musically careless and ignorant; and in past times they have produced some worthy music and show signs in the present time of a revival of native music.

[Ill.u.s.tration: WESTMINSTER ABBEY FROM THE END OF THE EMBANKMENT]

As to the art of the theatre, England, proud in a magnificent past, which is still the only rival in Christian times of the days of the ancient Greek drama, can with more good content than most nations submit to the present phase which makes production and scenery and not the play "the thing." But in dramatic as in musical art it is the fas.h.i.+on to represent England as sunk in a Slough of Despond, whilst other nations march gloriously forward on the upper heights. I take leave to dispute the truth of that picture. It is not a Golden Age anywhere for the drama. Our time seems to be capable of very little else than going over the tailing-heaps of past workers, searching for a little grain of gold here and there, and, after finding it, beating it out thin with infinite labour to make it appear as impressive as possible. There are no great nuggets being turned up; no one is pouring out a golden stream. But of what little pottering work there is being done, England is responsible for a fair share.

Perhaps her surviving instinct of Puritanism stands in the way of slightly increasing a small success. There are only two stories, says some one: there is the story of one man and two women, and there is the story of one woman and two men. English custom has insisted for a century or so upon a certain reserve in the treatment of any one of the infinite variations on these two themes; and there is a Censor to enforce some unwritten and poorly-understood Rules of the Game. Censors of the Censor say that his main rule is that you may not be "s.e.xey" and serious, though you may go far on the path of being "s.e.xey" and frivolous. A fairly faithful study of the London theatres has suggested to me that whatever primness there was about the censors.h.i.+p is rapidly breaking down, and there is not an undue amount of it nowadays.

The present (1912-13) fas.h.i.+on in London is for spectacle plays--in which the mounting is of at least equal importance to the play--and "atmosphere plays," the scene of which must be pitched in some unfamiliar, preferably some slightly uncouth phase of life, which is reproduced with meticulous accuracy. I suppose that Sir Herbert Tree may be accepted as the leader of theatrical London of the day: and when I sought to get an impression of theatrical London "behind the scenes," I obtained permission to watch him at work in the shaping of a big "production," _False G.o.ds_, from the French, a philosophical treatise in the form of a play, which was to be launched upon London with the advent.i.tious aid of impressive "production."

"No! No!! No!!! You must go mad, go mad! Think of a French Revolution--be just that! Dance, leap, shriek. Go mad!"

That was what I heard at the first dress rehearsal of _False G.o.ds_, Sir Herbert Beerbohm Tree speaking with gesture to match his speaking. He had been watching the rehearsal with obvious satisfaction up to that. All had gone well and smoothly. In the first stage-setting his certain eye took in the fact that there was one false G.o.d too many on the terrace of the great Egyptian house. The bulk of that G.o.d spoiled the sky and the beautiful vista of the Nile. With a brief iconoclastic phrase that G.o.d was abolished.

Then the races of Egypt took Sir Herbert Tree's attention. "Too pale, too pale! Something more of the Nile mud in your faces!" The crowd of "supers"

were prompt with grease-paint to make their colour more Egyptian. But the producer was not quite satisfied, and mounting the stage took himself a stick of paint and, working on their faces like an artist at a canvas, tinted two "supers" to the proper shade of Egyptian darkness.

Having so arranged the G.o.ds and the faces of men, Sir Herbert Tree turned to the firmament. The sky must have more light here, less light there. "It must get the burnished effect." In time, after many experiments in limelight, it does.

But those are only details, which the chief of the theatre attends to between s.n.a.t.c.hes of conversation, never dropping for a moment his air, a little that of a philosopher, a little that of a Beau Nash. When, however, in the great scene where the images of the false G.o.ds are torn down, the mob on the stage tears with but little noise and no rage, Sir Herbert Tree is moved out of himself. In a moment he is on the stage with the command, "You must go mad!" and giving a workmanlike imitation of what he wants. The "supers" accordingly go mad and all is peace again, and there is a.s.surance that the big scene will "go" as it should.

A curious study it was--the finis.h.i.+ng touches being put on to a great London production. The final result must be such art as imitates Nature and yet creates illusion. Every detail has to be most carefully considered and revised again and again to fit harmoniously in with the whole scheme. The colour of a dress, the tint of a face, the shape of an eye, the placing of a flower or an ornament is changed and changed again until there is the harmony which apes perfection. Above all, the lights must be schemed--a little more purple, or green, or grey, or rose-red, or yellow; a softening here, a heightening there. A thousand-and-one combinations of light are tested until the right one is. .h.i.t upon to suggest mystery, joy, sorrow, dawn, evening, superst.i.tion, cruelty, as the case may be. Much of the story the audience will read so clearly on the stage on the first night is written by the lights. The greatest trouble of the producer has been to get those lights right, not only for each scene, but for each minute of the scene, for with every phase of the play the lights must change.

It seems a monstrous task to the uninitiated. But during it all the producer at work is, as a rule (there are exceptional moments when the "supers" must go mad), quiet, chatty, willing and able to show the other side of his personality as a philosophical critic of the drama, its aims, its ethics.

"Yes, I work in a large frame.... Problem plays would not suit my canvas.

(More purple now in that evening sky.) The object of the drama? Of course, to be amusing and to make people happy. That does not exclude tragedy.

There is pleasure in tragedy, if it is lofty and not repulsive. We arrive at the same physical result through weeping and through laughing. (Those hands _must_ all be held in the same way in the invocation. Remember it is a ritual!) Torture scenes on the stage? No, not if they are repulsive. But there are ways and ways. You can put blood trickling down the steps of a scene to suggest tragedy, and you can put blood trickling down the steps so as to suggest nausea. That second thing must not be. There must be nothing repulsive. (Give more of a pause there. And don't go near her. She must hold the stage for fifteen seconds.)

"Yes, I think the drama is growing in influence in England. We have a stronger drama than a decade ago. To-day the theatre is stronger in England than in any other part of the world. I say it deliberately. Stronger than in France, stronger than in America. And its influence grows. It is partly due, I think, to the decline of dogma. (Please, please, that music a little softer; but quicker too, brighter!) The stage's influence grows as dogma declines. What do I mean by dogma? Well, faith of the open-your-mouth-and-shut-your-eyes brand. But the stage must not have a pose nor a preach. We must be unconsciously ethical and proud of our craft.

There's not enough pride in craftsmans.h.i.+p these days, not enough of the artist's spirit either in the artisan or in the artiste.

"Above all, if we are to be artistes we must be tolerant."

Then the time had come for Sir Herbert Tree to dress as the High Priest of Egypt. The two concluding acts of _False G.o.ds_ are coming, and in those two acts Sir Herbert Tree has to take part. The rehearsal afterwards misses the stimulus of his running comment and his suave sagacities. But it is still absorbingly interesting. Five minutes of high, emotional tragedy are sandwiched between discussions of lights, of dresses, of positions. When anything is not quite right the play is stopped, and voices fall from intensity to commonplace. Midnight approaches. Here and there a super, who has not quite enough of the artist's spirit to be able to take a pride and joy in doing his super's service of standing by and waiting, yawns. But the producer hammers and hammers away like a metal-worker fas.h.i.+oning a beautiful gate. With infinite multiplication of touches the production begins to take its shape.

At 1 A.M. the rehearsal is over. "Things are fairly satisfactory." It has lasted since 5 P.M. For three more days and nights the same task will be gone through, so that the "first night" may be perfect and the first-night audience may have no hint of the labour that perfection has cost.

It is all very fine; in a good producer's hands very artistic. But is it "dramatic art" in the full sense of the word? The question arises more insistently when the "production" is not that of a philosophical treatise in the form of a drama, which must be freely and splendidly ill.u.s.trated if it is to "sell" at all, but of a Shakespeare play. Sir Herbert Tree is a great producer of Shakespeare; and he ill.u.s.trates dramas of n.o.ble pa.s.sion and lofty thought with the same elaborate care as he lavishes on a play like _False G.o.ds_, or some "patriotic spectacle" of snippets and fustian.

There is another school of "producers" in London, aiming at strangeness, perhaps a little more than at simplicity. It is, in a sense, a school of revolt against elaborate production. I do not think that either school is destined to save or to condemn dramatic art.

[Ill.u.s.tration: WESTMINSTER AND THE HOUSES OF PARLIAMENT]

Meanwhile, the theatres in London (and in the provinces which reproduce London successes, and also bring, with the aid of their Repertory Theatres, a valuable addition to the current of dramatic life) can be always trusted to offer something amusing to all tastes, from the serious to the gay and the raffish. A very well-defined type of London theatrical entertainment is the "musical comedy," a taste for which has spread to America, and is now invading France. It grew out of French _opera-bouffe_ by way of burlesque, and of the "comic opera" type which Gilbert and Sullivan made famous.

"Musical comedy" has to be bright, tuneful, inconsequential, and ill.u.s.trated by charming women in charming costumes. Its aid to the happy digestion of dinner is one of its chief claims to popularity, and it strives to amuse without making undue demands on the intelligence.

The explorer in the theatrical life of England must not miss the music halls--the smaller ones usually owing part of their attraction to the fact that they are the resort of people whose chief business in life it is to be gay, the larger ones much more regardful of British Puritanism.

Yes, perhaps in reviewing the whole situation in painting, music, drama, Art is not so kind to England as Nature; or rather the Englishman does not give so much loving care to the arts as he does to his gardens and parks.

Nevertheless, England is not a land altogether of Philistines.

CHAPTER XII

POLITICAL LIFE IN ENGLAND

After cataloguing carefully the industries which occupy the working hours of the Englishman and the sports which amuse his leisure, there would still be left to be considered a great field of activity which can come strictly under the heading neither of work nor of amus.e.m.e.nt, though it affords much of both. That is the field of politics.

Huge amounts of time, energy, money, are expended yearly by the Englishman on politics. To some of the wealthy and leisured, political activity in some direction or another is the chief interest of life. To some of the poor and discontented, politics seems to offer a way to better things. To the middle cla.s.ses a degree of political activity is dictated if not by personal predilection then by the dictates of fas.h.i.+on or by the ambition to "get on" socially. There is no better way of social advancement than the way of politics. It is not only that knighthoods, orders, peerages even, reward the political worker, but that entry into social circles otherwise closed becomes possible when some mutual political interest smooths the way. Thus the ranks of those genuinely interested in political issues are recruited by a great crowd of social aspirants, sincere enough probably, but with, as their main object, the desire to parade their excellent political principles as a reason for advancement into "good society."

This aspect of political life is not peculiar to England. Wherever representative inst.i.tutions exist it may be found in some degree. But in England it has gone to an extreme length. The existence of a very numerous leisured cla.s.s is partly responsible, no doubt. Another explanation is that in England with political issues are inextricably involved personal and clan rivalries. The Montagues and Capulets do not brawl in the streets of London or Manchester. They fight out their rivalries on the hustings and in the field of politics. Where there are no ready-made leaders of political faction in a town or district they soon develop; or there may grow up a joint-stock rivalry between the political clubs, in which the personal leaders.h.i.+p becomes of minor importance but the corporate struggle for supremacy is tremendous. Then the position resembles the fierce but on the whole good-natured contests between football clubs and their supporters.

The rival political organisations, under these circ.u.mstances, seek always eagerly the man who can win or hold the seat, and their chief interest is that the party platform shall be so framed that it will be most likely to attract the "wobblers," who are not definitely and permanently bound to either party. Victory carries with it intense satisfaction. With defeat there is rarely any enduring bitterness. In politics, as in other games, the Englishman is a "good sport," and if he loses to-day hopes to win next time, or consoles himself, when he is permanently and hopelessly outnumbered, that at least he has won a "moral victory." A "moral victory"

is won when you are decisively beaten, but would certainly have won on account of the excellence of your cause but that Providence was on the side of the bigger battalions.

Aside from the main party issue:

Every little boy or girl that is born alive Is born either a little Liberal or a little Conservative.

English political activity finds expression in numberless leagues, societies, organisations, and unions to promote some special idea in politics. These usually have a nucleus of enthusiasts and a great body of followers with no very precise idea of what they want, but an impression that the league is a good thing because it has this or that personality among its office-bearers. I tried once to make a census of the political organisations of England, and gave up the task when the number pa.s.sed into the hundreds without the end being in sight. Each party has several organisations to meet the needs of different types of supporters. Then each idea claims its league to advocate, and often also its league to oppose.

Further, there are all sorts of leagues which aim at the abolition of something, and again there are some leagues pseudo-political, which really have no more serious purpose than afternoon tea.

But usually the purpose is serious and sincere. Else why the street meeting, which in the English climate is usually a harsh tax on the comfort of speakers and audience? My first impression in London of one of these street meetings at first inspired in me ridicule, then a reluctant admiration. At a street corner--brilliantly lighted from a public-house on one side and a grocery store on the other--a little pulpit set up in the road: from it a man speaking vigorously, almost pa.s.sionately, apparently to the idle wind, for no one is there to listen, unless indeed that horse drowsing in the shafts of a cart at the grocery store is listening, and what looks like sleepiness on its part is really quiet and intelligent appreciation. This was strange enough to arrest attention. I forgot a purpose to see from Primrose Hill the young moon rise over London on a clear night, and stopped to listen. That was the first of the audience. The speaker had announced, "We are met here to-night to----"; but that was, it seemed at first, an unjustifiable optimism, for n.o.body had met; n.o.body seemed inclined to meet.

But the speaker, after all, knew. There was to be, later on, a meeting, and he, with a stolid courage that evoked an admiration strong enough to smother the first sense of ludicrousness, was making that meeting. To speak to a meeting which isn't, to pour out eloquence to an empty waste of street for half an hour or so until the curious are attracted and an odd bystander swells to a group, and a group to a crowd--that surely calls for courage of the highest; it calls, too, for that stolid self-confidence and imperviousness to ridicule which seems characteristic of the Englishman when he feels that he is in the right.

But very depressing is the beginning of this street meeting. The speaker has put up his little barricade, a street pulpit of deal, which bears a placard urging "the electors to insist on a candidate who will support British work for British hands"; but at first there is neither friend to help nor enemy to fight. In a little while two supporting speakers appear with bundles of pamphlets. Three small boys, attracted by curiosity, are enlisted to distribute these among the audience (as yet non-existent). The man in the pulpit talks energetically and sensibly. There are all the essentials of a good meeting, except an audience. The horse at the street corner still drowses. With irritating persistency a street beggar--a st.u.r.dy young chap apparently, perhaps one of the victims of the political evils that the speaker is talking of--plays a dismal tune again and again on a concertina. The air is eager and nipping, and it seems hopeless to expect that any number will give up their Sat.u.r.day night to stand listening at this cold street corner.

[Ill.u.s.tration: HYDE PARK, LONDON]

But gradually the crowd swells. There are at least 150 people listening by the time that the first speaker has concluded and makes way for another. I seek from him an explanation of this strange form of political propaganda.

Is this a casual incident or is it a habit? It seems that it is a habit, the expression of the faith that is in them by a small group of enthusiasts who think they see England in danger and wish to send to the people a warning word. The meeting grows with every minute and livens up considerably. A bystander, on whom Fate has evidently not inflicted a drought, interrupts persistently, and finally accosts the speaker and puts an affectionate and unsober hand on his shoulder and wishes to help him to run the meeting; but the police interfere, and the speaker goes on pouring out facts in vigorous phrases. Now and again a wife comes into the crowd and draws away her unwilling husband; for there are Sat.u.r.day night marketing duties to be done, and on them political education must wait.

But such losses in the audience are made up by gains, and the meeting goes forward to a cheerful, even an enthusiastic conclusion. It has dealt with one of the big questions of the day. But--so strong is the political habit of the English--it might have attracted almost as much attention if its object had been the advocacy of the setting up of a Jewish Republic in Jerusalem, or some amendment of the law to protect hansom cabs from motor-cab compet.i.tion.

But political life is not all street-speaking. Indeed, that is generally left to the stark enthusiasts and to the faddists. When the big actors on the stage of politics take the platform, it is in a theatre or a great hall of amus.e.m.e.nt, and there is an orchestra; sometimes, too, eminent vocalists; and even occasionally also a cinematograph entertainment, to make the evening "go off well." I recall a nicely-balanced evening at which there was a duke in the chair--a true n.o.bleman this particular duke, but not at all an orator, and he did not attempt to speak. Then a breezy speaker filled in an hour with advocacy of "the cause"; after that music and moving pictures for an hour. For the audience the winter evening had been filled very comfortably. There was something of an atmosphere of "high society,"

some earnest and not very dull explanation of a political issue, and some entertainment.

To make the pursuit of politics still more comfortable there are very many political clubs. Almost every electorate has its Conservative Club and its Liberal Club, to which the only qualification for members.h.i.+p is a sound political faith. At these clubs there are newspapers, magazines, games of all sorts, refreshments (at club prices), and occasional political discussions and lectures. Then in the capital and the big provincial towns there are clubs of a more "exclusive" type, members.h.i.+p of which is more or less reserved. The two biggest political clubs are the National Liberal--with a magnificent house fronting the Thames--and the Const.i.tutional (Conservative) in Northumberland Avenue. These are the great popular headquarters for the young fighters of the two big parties. It is almost necessary to be a member of the National Liberal Club if you wish to show as an earnest Liberal. There is a popular gibe "from the other side"

which gives the definition of the "complete Liberal": "I have always refrained from intoxicating liquors; I have married my deceased wife's sister; none of our children have been vaccinated; and I am a member of the National Liberal Club." The "other side," galled a little at this, has not so far responded with anything better than this definition of the "complete Tory": "I am incurably stupid; and a member of the Const.i.tutional Club."

The party chiefs have their club citadels in Pall Mall, London--the Carlton on the Unionist side, the Reform on the Liberal side. Here one gets sound politics of one's own particular brand, with sound port, good dinners, and comfortable chairs. (The English "club chair," by the way, is the standard of manly comfort the wide world over. You find the English "club chair"

proudly announced as a luxury in all Europe, Asia, America, Australia, and Africa; and "club" is a word found in every civilised language.) Members.h.i.+p of these clubs is difficult to win, and it carries with it some claim to be considered one of the managing committee of the party. (The Reform, however, is not quite so rigidly a "party" organisation as the Carlton, which will force you to resign if your politics do not remain sound from a Unionist point of view.)

But apart from the great well-defined political clubs there are scores of minor examples of these social-political organisations. Whenever a political "group" is formed, it finds the need of a club where it may talk over its enthusiasms at dinner. Thus when recently Lord Halsbury led a schism against the main body of opinion among the Unionist peers, a "Halsbury Club" was formed to band together in social as well as political unity those who agreed with him. Not all these clubs acquire club-houses.

Sometimes they seek the hospitality of other clubs, sometimes are content to engage a private room at an hotel for their periodical dinners and discussions.