Modern Essays Part 10

Sanya at the piano shot a glance over her shoulder, a very sad-gay glance; she laughed, curiously, I almost said foreignly. I felt somehow as though I had been taken complete possession of by these people. I hardly belonged to myself. Fleet Street was but a street of dream. I seemed now to be awake and in an adorable captivity.

With a final volley of chords, the pianist slid from the chair, and sat by her boy on the carpet, smoothing his face with tobacco-stained fingers, and languis.h.i.+ng, while her thick, over-ripe lips took his kisses as a baby bird takes food from its mother.

We talked--all of us--in jerks and s.n.a.t.c.hes. Then the oil in the lamp began to give out, and the room grew dim. Some one said: "Play something!" And some one said: "Too tired!" The girl reclining on the bed grew snappy. She did not lean for caresses. She seemed morose, preoccupied, almost impatient. Twice she snapped up her boy on a casual remark. I believe I talked vodka'd nonsense....

But suddenly there came a whisper of soft feet on the landing, and a secret tap at the door. Some one opened it, and slipped out. One heard the lazy hum of voices in busy conversation. Then silence; and some one entered the room and shut the door. One of the boys asked, casually, "What's up?" His question was not answered, but the girl who had gone to the door snapped something in a sharp tone which might have been either Russian or Yiddish. Katarina loosened herself from me, and sat up. The girl on the bed sat up. The three of them spat angry phrases about, I called over to one of the boys: "What's the joke? Anything wrong?" and received a reply: "Owshdiknow? I ain't a ruddy Russian, am I?"

Katarina suddenly drew back her flaming face. "Here," she said, "you better go."

"Go?"

"Yes--fathead! Go's what I said."

"But--" I began, looking and feeling like a flabbergasted cat.

"Don't I speak plain? Go!"

I suppose a man never feels a finer idiot than when a woman tells him she doesn't want him. If he ever does, it is when a woman tells him that she loves him. Katarina had given me the bullet, and, of course, I felt a fool; but I derived some consolation from the fact that the other boys were being told off. Clearly, big things were in the air, about to happen. Something, evidently, had already happened. I wondered.... Then I sat down on the sofa, and flatly told Katarina that I was not going unless I had a reason.

"Oh," she said, blithely, "ain't you? This is my room, ain't it? I brought you here, and you stay here just as long as I choose, and no longer. Who d'you think you are, saying you won't go? This is my room. I let you come here for a drink, and you just got to go when I say. See?"

I was about to make a second stand, when again there came a stealthy tap at the door, and the whispering of slippered feet. Sanya glided to the door, opened it, and disappeared. In a moment she came back, and called, "'Rina!" Katarina slipped from my embrace, went to the door, and disappeared too. One girl and three boys remained--in silence.

Next moment Katarina reappeared, and said something to Sanya. Sanya pulled her boy by the arm, and went out. The other girl pushed her boy at the neck and literally threw him out. Katarina came over to me, and said: "Go, little fool!"

I said: "Shan't unless I know what the game is."

She stood over me; glared; searched for words to meet the occasion; found none. She gestured. I sat as rigid as an immobile comedian.

Finally, she flung her arms, and swept away. At the door she turned; "Blasted little fool! He'll do us both in if y'ain't careful. You don't know him. Both of us he'll have. Serveyeh right."

She disappeared. I was alone. I heard the _sup-sup_ of her slippered feet down the stair.

I got up, and moved to the door. I heard nothing. I stood by the window, my thoughts dancing a ragtime. I wondered what to do, and how, and whether. I wondered what was up exactly. I wondered ... well, I just wondered. My thoughts got into a tangle, sank, and swam, and sank again.

Then there was a sudden struggle and spurt from the lamp, and it went black out. From a room across the landing a clock ticked menacingly. I saw, by the thin light from the window, the smoke of a discarded cigarette curling up and up to the ceiling like a snake.

I went again to the door, peered down the steep stair and over the crazy bal.u.s.trade. n.o.body was about; no voices. I slipped swiftly down the five flights, met n.o.body. I stood in the s...o...b..red vestibule. From afar I heard the sluck of the waters against the staples of the wharves, and the wicked hoot of the tugs.

It was then that a sudden nameless fear seized me; it was that simple terror that comes from nothing but ourselves. I am not usually afraid of any man or thing. I am normally nervous, and there are three or four things that have power to terrify me. But I am not, I think, afraid. At that moment, however, I was afraid of everything: of the room I had left, of the house, of the people, of the inviting lights of the warehouses and the threatening shoals of the alleys.

I stood a moment longer. Then I raced into Brick Lane, and out into the brilliance of Commercial Street.

A WORD FOR AUTUMN

_By_ A. A. MILNE

This is the sort of urbane pleasantry in which British essayists are prolific and graceful. Alan Alexander Milne was born in 1882, went to Trinity College, Cambridge; was editor of _The Granta_ (the leading undergraduate publication at Cambridge at that time); and plunged into the great whirlpool of London journalism. He was on the staff of _Punch_, 1906-14. He has now collected several volumes of charming essays, and has had considerable success as a playwright: his comedy, _Mr. Pim Pa.s.ses By_, recently played a prosperous run in New York. "A Word for Autumn" is from his volume _Not That It Matters_.

Last night the waiter put the celery on with the cheese, and I knew that summer was indeed dead. Other signs of autumn there may be--the reddening leaf, the chill in the early-morning air, the misty evenings--but none of these comes home to me so truly. There may be cool mornings in July; in a year of drought the leaves may change before their time; it is only with the first celery that summer is over.

I knew all along that it would not last. Even in April I was saying that winter would soon be here. Yet somehow it had begun to seem possible lately that a miracle might happen, that summer might drift on and on through the months--a final upheaval to crown a wonderful year. The celery settled that. Last night with the celery autumn came into its own.

There is a crispness about celery that is of the essence of October. It is as fresh and clean as a rainy day after a spell of heat. It crackles pleasantly in the mouth. Moreover it is excellent, I am told, for the complexion. One is always hearing of things which are good for the complexion, but there is no doubt that celery stands high on the list.

After the burns and freckles of summer one is in need of something. How good that celery should be there at one's elbow.

A week ago--("A little more cheese, waiter")--a week ago I grieved for the dying summer. I wondered how I could possibly bear the waiting--the eight long months till May. In vain to comfort myself with the thought that I could get through more work in the winter undistracted by thoughts of cricket grounds and country houses. In vain, equally, to tell myself that I could stay in bed later in the mornings. Even the thought of after-breakfast pipes in front of the fire left me cold. But now, suddenly, I am reconciled to autumn. I see quite clearly that all good things must come to an end. The summer has been splendid, but it has lasted long enough. This morning I welcomed the chill in the air; this morning I viewed the falling leaves with cheerfulness; and this morning I said to myself, "Why, of course, I'll have celery for lunch."

("More bread, waiter.")

"Season of mists and mellow fruitfulness," said Keats, not actually picking out celery in so many words, but plainly including it in the general blessings of the autumn. Yet what an opportunity he missed by not concentrating on that precious root. Apples, grapes, nuts, and vegetable marrows he mentions specially--and how poor a selection! For apples and grapes are not typical of any month, so ubiquitous are they, vegetable marrows are vegetables _pour rire_ and have no place in any serious consideration of the seasons, while as for nuts, have we not a national song which a.s.serts distinctly, "Here we go gathering nuts in May"? Season of mists and mellow celery, then let it be. A pat of b.u.t.ter underneath the bough, a wedge of cheese, a loaf of bread and--Thou.

How delicate are the tender shoots unfolded layer by layer. Of what a whiteness is the last baby one of all, of what a sweetness his flavor.

It is well that this should be the last rite of the meal--_finis coronat opus_--so that we may go straight on to the business of the pipe. Celery demands a pipe rather than a cigar, and it can be eaten better in an inn or a London tavern than in the home. Yes, and it should be eaten alone, for it is the only food which one really wants to hear oneself eat.

Besides, in company one may have to consider the wants of others. Celery is not a thing to share with any man. Alone in your country inn you may call for the celery; but if you are wise you will see that no other traveler wanders into the room. Take warning from one who has learnt a lesson. One day I lunched alone at an inn, finis.h.i.+ng with cheese and celery. Another traveler came in and lunched too. We did not speak--I was busy with my celery. From the other end of the table he reached across for the cheese. That was all right! it was the public cheese. But he also reached across for the celery--my private celery for which I owed. Foolishly--you know how one does--I had left the sweetest and crispest shoots till the last, tantalizing myself pleasantly with the thought of them. Horror! to see them s.n.a.t.c.hed from me by a stranger. He realized later what he had done and apologized, but of what good is an apology in such circ.u.mstances? Yet at least the tragedy was not without its value. Now one remembers to lock the door.

Yes, I can face the winter with calm. I suppose I had forgotten what it was really like. I had been thinking of the winter as a horrid wet, dreary time fit only for professional football. Now I can see other things--crisp and sparkling days, long pleasant evenings, cheery fires.

Good work shall be done this winter. Life shall be lived well. The end of the summer is not the end of the world. Here's to October--and, waiter, some more celery.

"A CLERGYMAN"

_By_ MAX BEERBOHM

Max Beerbohm, I dare say (and I believe it has been said before), is the most subtly gifted English essayist since Charles Lamb. It is not surprising that he has (now for many years) been referred to as "the incomparable Max," for what other contemporary has never once missed fire, never failed to achieve perfection in the field of his choice? Whether in caricature, short story, fable, parody, or essay, he has always been consummate in grace, tact, insouciant airy precision. I hope you will not miss "No. 2 The Pines" (in _And Even Now_, from which this selection also comes), a reminiscence of his first visit to Swinburne in 1899. That beautiful (there is no other word) essay shows an even ampler range of Mr. Beerbohm's powers: a tenderness and lovely grace that remind one, almost against belief, that the gay youth of the '90's now mellows deliciously with the end of the fifth decade. He was so enormously old in 1896, when he published his first book and called it his _Works_; he seems much younger now: he is having his first childhood.

This portrait of the unfortunate cleric annihilated by Dr. Johnson is a triumphant example of the skill with which a perfect artist can manuver a trifle, carved like an ivory trinket; in such hands, subtlety never becomes mere tenuity.

Max Beerbohm was born in London in 1872; studied at Charterhouse School and Merton College, Oxford; and was a brilliant figure in the _Savoy_ and _Yellow Book_ circles by the time he was twenty-four. His genius is that of the essay in its purest distillation: a clear cross-section of life as seen through the lens of self; the pure culture (in the biological sense) of observing personality.

I have often wondered how it came about (though the matter is wholly nonpertinent) that Mr. Beerbohm married an American lady--quite a habit with English essayists, by the way: Hilaire Belloc and Bertrand Russell did likewise. _Who's Who_ says she was from Memphis, which adds l.u.s.tre to that admirable city.

He now lives in Italy.

Fragmentary, pale, momentary; almost nothing; glimpsed and gone; as it were, a faint human hand thrust up, never to reappear, from beneath the rolling waters of Time, he forever haunts my memory and solicits my weak imagination. Nothing is told of him but that once, abruptly, he asked a question, and received an answer.

This was on the afternoon of April 7th, 1778, at Streatham, in the well-appointed house of Mr. Thrale. Johnson, on the morning of that day, had entertained Boswell at breakfast in Bolt Court, and invited him to dine at Thrale Hall. The two took coach and arrived early. It seems that Sir John Pringle had asked Boswell to ask Johnson "what were the best English sermons for style." In the interval before dinner, accordingly, Boswell reeled off the names of several divines whose prose might or might not win commendation. "Atterbury?" he suggested. "JOHNSON: Yes, Sir, one of the best. BOSWELL: Tillotson? JOHNSON: Why, not now. I should not advise any one to imitate Tillotson's style; though I don't know; I should be cautious of censuring anything that has been applauded by so many suffrages.--South is one of the best, if you except his peculiarities, and his violence, and sometimes coa.r.s.eness of language.--Seed has a very fine style; but he is not very theological.

Jortin's sermons are very elegant. Sherlock's style, too, is very elegant, though he has not made it his princ.i.p.al study.--And you may add Smalridge. BOSWELL: I like Ogden's Sermons on Prayer very much, both for neatness of style and subtility of reasoning. JOHNSON: I should like to read all that Ogden has written. BOSWELL: What I want to know is, what sermons afford the best specimen of English pulpit eloquence.

JOHNSON: We have no sermons addressed to the pa.s.sions, that are good for anything; if you mean that kind of eloquence. A CLERGYMAN, whose name I do not recollect: Were not Dodd's sermons addressed to the pa.s.sions?

JOHNSON: They were nothing, Sir, be they addressed to what they may."

The suddenness of it! Bang!--and the rabbit that had popped from its burrow was no more.