A FANTASIA IN THE RUSSIAN MANNER ON ENGLISH THEMES
By Bernard Shaw
HEARTBREAK HOUSE AND HORSEBACK HALL
Where Heartbreak House Stands
Heartbreak House is not merely the name of the play which follows this preface. It is cultured, leisured Europe before the war. When the play was begun not a shot had been fired; and only the professional diplomatists and the very few amateurs whose hobby is foreign policy even knew that the guns were loaded. A Russian playwright, Tchekov, had produced four fascinating dramatic studies of Heartbreak House, of which three, The Cherry Orchard, Uncle Vanya, and The Seagull, had been performed in England. Tolstoy, in his Fruits of Enlightenment, had shown us through it in his most ferociously contemptuous manner. Tolstoy did not waste any sympathy on it: it was to him the house in which Europe was stifling its soul; and he knew that our utter enervation and futilization in that overheated drawingroom atmosphere was delivering the world over to the control of ignorant and soulless cunning and energy, with the frightful consequences which have now overtaken it. Tolstoy was no pessimist: he was not disposed to leave the house standing if he could bring it down about the ears of its pretty and amiable voluptuaries; and he wielded the pickaxe with a will. He treated the case of the inmates as one of opium poisoning, to be dealt with by seizing the patients roughly and exercising them violently until they were broad awake. Tchekov, more of a fatalist, had no faith in these charming people extricating themselves. They would, he thought, be sold up and sent adrift by the bailiffs; and he therefore had no scruple in exploiting and even flattering their charm.
Tchekov's plays, being less lucrative than swings and roundabouts, got no further in England, where theatres are only ordinary commercial affairs, than a couple of performances by the Stage Society. We stared and said, "How Russian!" They did not strike me in that way. Just as Ibsen's intensely Norwegian plays exactly fitted every middle and professional class suburb in Europe, these intensely Russian plays fitted all the country houses in Europe in which the pleasures of music, art, literature, and the theatre had supplanted hunting, shooting, fishing, flirting, eating, and drinking. The same nice people, the same utter futility. The nice people could read; some of them could write; and they were the sole repositories of culture who had social opportunities of contact with our politicians, administrators, and newspaper proprietors, or any chance of sharing or influencing their activities. But they shrank from that contact. They hated politics. They did not wish to realize Utopia for the common people: they wished to realize their favorite fictions and poems in their own lives; and, when they could, they lived without scruple on incomes which they did nothing to earn. The women in their girlhood made themselves look like variety theatre stars, and settled down later into the types of beauty imagined by the previous generation of painters. They took the only part of our society in which there was leisure for high culture, and made it an economic, political and; as far as practicable, a moral vacuum; and as Nature, abhorring the vacuum, immediately filled it up with sex and with all sorts of refined pleasures, it was a very delightful place at its best for moments of relaxation. In other moments it was disastrous. For prime ministers and their like, it was a veritable Capua.
But where were our front benchers to nest if not here? The alternative to Heartbreak House was Horseback Hall, consisting of a prison for horses with an annex for the ladies and gentlemen who rode them, hunted them, talked about them, bought them and sold them, and gave nine-tenths of their lives to them, dividing the other tenth between charity, churchgoing (as a substitute for religion), and conservative electioneering (as a substitute for politics). It is true that the two establishments got mixed at the edges. Exiles from the library, the music room, and the picture gallery would be found languishing among the stables, miserably discontented; and hardy horsewomen who slept at the first chord of Schumann were born, horribly misplaced, into the garden of Klingsor; but sometimes one came upon horsebreakers and heartbreakers who could make the best of both worlds. As a rule, however, the two were apart and knew little of one another; so the prime minister folk had to choose between barbarism and Capua. And of the two atmospheres it is hard to say which was the more fatal to statesmanship.
Revolution on the Shelf
Heartbreak House was quite familiar with revolutionary ideas on paper. It aimed at being advanced and freethinking, and hardly ever went to church or kept the Sabbath except by a little extra fun at weekends. When you spent a Friday to Tuesday in it you found on the shelf in your bedroom not only the books of poets and novelists, but of revolutionary biologists and even economists. Without at least a few plays by myself and Mr Granville Barker, and a few stories by Mr H. G. Wells, Mr Arnold Bennett, and Mr John Galsworthy, the house would have been out of the movement. You would find Blake among the poets, and beside him Bergson, Butler, Scott Haldane, the poems of Meredith and Thomas Hardy, and, generally speaking, all the literary implements for forming the mind of the perfect modern Socialist and Creative Evolutionist. It was a curious experience to spend Sunday in dipping into these books, and the Monday morning to read in the daily paper that the country had just been brought to the verge of anarchy because a new Home Secretary or chief of police without an idea in his head that his great-grandmother might not have had to apologize for, had refused to "recognize" some powerful Trade Union, just as a gondola might refuse to recognize a 20,000-ton liner.
In short, power and culture were in separate compartments. The barbarians were not only literally in the saddle, but on the front bench in the House of commons, with nobody to correct their incredible ignorance of modern thought and political science but upstarts from the counting-house, who had spent their lives furnishing their pockets instead of their minds. Both, however, were practised in dealing with money and with men, as far as acquiring the one and exploiting the other went; and although this is as undesirable an expertness as that of the medieval robber baron, it qualifies men to keep an estate or a business going in its old routine without necessarily understanding it, just as Bond Street tradesmen and domestic servants keep fashionable society going without any instruction in sociology.
The Cherry Orchard
The Heartbreak people neither could nor would do anything of the sort. With their heads as full of the Anticipations of Mr H. G. Wells as the heads of our actual rulers were empty even of the anticipations of Erasmus or Sir Thomas More, they refused the drudgery of politics, and would have made a very poor job of it if they had changed their minds. Not that they would have been allowed to meddle anyhow, as only through the accident of being a hereditary peer can anyone in these days of Votes for Everybody get into parliament if handicapped by a serious modern cultural equipment; but if they had, their habit of living in a vacuum would have left them helpless end ineffective in public affairs. Even in private life they were often helpless wasters of their inheritance, like the people in Tchekov's Cherry Orchard. Even those who lived within their incomes were really kept going by their solicitors and agents, being unable to manage an estate or run a business without continual prompting from those who have to learn how to do such things or starve.
From what is called Democracy no corrective to this state of things could be hoped. It is said that every people has the Government it deserves. It is more to the point that every Government has the electorate it deserves; for the orators of the front bench can edify or debauch an ignorant electorate at will. Thus our democracy moves in a vicious circle of reciprocal worthiness and unworthiness.
Nature's Long Credits
Nature's way of dealing with unhealthy conditions is unfortunately not one that compels us to conduct a solvent hygiene on a cash basis. She demoralizes us with long credits and reckless overdrafts, and then pulls us up cruelly with catastrophic bankruptcies. Take, for example, common domestic sanitation. A whole city generation may neglect it utterly and scandalously, if not with absolute impunity, yet without any evil consequences that anyone thinks of tracing to it. In a hospital two generations of medical students way tolerate dirt and carelessness, and then go out into general practice to spread the doctrine that fresh air is a fad, and sanitation an imposture set up to make profits for plumbers. Then suddenly Nature takes her revenge. She strikes at the city with a pestilence and at the hospital with an epidemic of hospital gangrene, slaughtering right and left until the innocent young have paid for the guilty old, and the account is balanced. And then she goes to sleep again and gives another period of credit, with the same result.
This is what has just happened in our political hygiene. Political science has been as recklessly neglected by Governments and electorates during my lifetime as sanitary science was in the days of Charles the Second. In international relations diplomacy has been a boyishly lawless affair of family intrigues, commercial and territorial brigandage, torpors of pseudo-goodnature produced by laziness and spasms of ferocious activity produced by terror. But in these islands we muddled through. Nature gave us a longer credit than she gave to France or Germany or Russia. To British centenarians who died in their beds in 1914, any dread of having to hide underground in London from the shells of an enemy seemed more remote and fantastic than a dread of the appearance of a colony of cobras and rattlesnakes in Kensington Gardens. In the prophetic works of Charles Dickens we were warned against many evils which have since come to pass; but of the evil of being slaughtered by a foreign foe on our own doorsteps there was no shadow. Nature gave us a very long credit; and we abused it to the utmost. But when she struck at last she struck with a vengeance. For four years she smote our firstborn and heaped on us plagues of which Egypt never dreamed. They were all as preventable as the great Plague of London, and came solely because they had not been prevented. They were not undone by winning the war. The earth is still bursting with the dead bodies of the victors.
The Wicked Half Century
It is difficult to say whether indifference and neglect are worse than false doctrine; but Heartbreak House and Horseback Hall unfortunately suffered from both. For half a century before the war civilization had been going to the devil very precipitately under the influence of a pseudo-science as disastrous as the blackest Calvinism. Calvinism taught that as we are predestinately saved or damned, nothing that we can do can alter our destiny. Still, as Calvinism gave the individual no clue as to whether he had drawn a lucky number or an unlucky one, it left him a fairly strong interest in encouraging his hopes of salvation and allaying his fear of damnation by behaving as one of the elect might be expected to behave rather than as one of the reprobate. But in the middle of the nineteenth century naturalists and physicists assured the world, in the name of Science, that salvation and damnation are all nonsense, and that predestination is the central truth of religion, inasmuch as human beings are produced by their environment, their sins and good deeds being only a series of chemical and mechanical reactions over which they have no control. Such figments as mind, choice, purpose, conscience, will, and so forth, are, they taught, mere illusions, produced because they are useful in the continual struggle of the human machine to maintain its environment in a favorable condition, a process incidentally involving the ruthless destruction or subjection of its competitors for the supply (assumed to be limited) of subsistence available. We taught Prussia this religion; and Prussia bettered our instruction so effectively that we presently found ourselves confronted with the necessity of destroying Prussia to prevent Prussia destroying us. And that has just ended in each destroying the other to an extent doubtfully reparable in our time.
It may be asked how so imbecile and dangerous a creed ever came to be accepted by intelligent beings. I will answer that question more fully in my next volume of plays, which will be entirely devoted to the subject. For the present I will only say that there were better reasons than the obvious one that such sham science as this opened a scientific career to very stupid men, and all the other careers to shameless rascals, provided they were industrious enough. It is true that this motive operated very powerfully; but when the new departure in scientific doctrine which is associated with the name of the great naturalist Charles Darwin began, it was not only a reaction against a barbarous pseudo-evangelical teleology intolerably obstructive to all scientific progress, but was accompanied, as it happened, by discoveries of extraordinary interest in physics, chemistry, and that lifeless method of evolution which its investigators called Natural Selection. Howbeit, there was only one result possible in the ethical sphere, and that was the banishment of conscience from human affairs, or, as Samuel Butler vehemently put it, "of mind from the universe."
Now Heartbreak House, with Butler and Bergson and Scott Haldane alongside Blake and the other major poets on its shelves (to say nothing of Wagner and the tone poets), was not so completely blinded by the doltish materialism of the laboratories as the uncultured world outside. But being an idle house it was a hypochondriacal house, always running after cures. It would stop eating meat, not on valid Shelleyan grounds, but in order to get rid of a bogey called Uric Acid; and it would actually let you pull all its teeth out to exorcise another demon named Pyorrhea. It was superstitious, and addicted to table-rapping, materialization seances, clairvoyance, palmistry, crystal-gazing and the like to such an extent that it may be doubted whether ever before in the history of the world did soothsayers, astrologers, and unregistered therapeutic specialists of all sorts flourish as they did during this half century of the drift to the abyss. The registered doctors and surgeons were hard put to it to compete with the unregistered. They were not clever enough to appeal to the imagination and sociability of the Heartbreakers by the arts of the actor, the orator, the poet, the winning conversationalist. They had to fall back coarsely on the terror of infection and death. They prescribed inoculations and operations. Whatever part of a human being could be cut out without necessarily killing him they cut out; and he often died (unnecessarily of course) in consequence. From such trifles as uvulas and tonsils they went on to ovaries and appendices until at last no one's inside was safe. They explained that the human intestine was too long, and that nothing could make a child of Adam healthy except short circuiting the pylorus by cutting a length out of the lower intestine and fastening it directly to the stomach. As their mechanist theory taught them that medicine was the business of the chemist's laboratory, and surgery of the carpenter's shop, and also that Science (by which they meant their practices) was so important that no consideration for the interests of any individual creature, whether frog or philosopher, much less the vulgar commonplaces of sentimental ethics, could weigh for a moment against the remotest off-chance of an addition to the body of scientific knowledge, they operated and vivisected and inoculated and lied on a stupendous scale, clamoring for and actually acquiring such legal powers over the bodies of their fellow-citizens as neither king, pope, nor parliament dare ever have claimed. The Inquisition itself was a Liberal institution compared to the General Medical Council.
Those who do not know how to live must make a Merit of Dying
Heartbreak House was far too lazy and shallow to extricate itself from this palace of evil enchantment. It rhapsodized about love; but it believed in cruelty. It was afraid of the cruel people; and it saw that cruelty was at least effective. Cruelty did things that made money, whereas Love did nothing but prove the soundness of Larochefoucauld's saying that very few people would fall in love if they had never read about it. Heartbreak House, in short, did not know how to live, at which point all that was left to it was the boast that at least it knew how to die: a melancholy accomplishment which the outbreak of war presently gave it practically unlimited opportunities of displaying. Thus were the firstborn of Heartbreak House smitten; and the young, the innocent, the hopeful, expiated the folly and worthlessness of their elders.
Only those who have lived through a first-rate war, not in the field, but at home, and kept their heads, can possibly understand the bitterness of Shakespeare and Swift, who both went through this experience. The horror of Peer Gynt in the madhouse, when the lunatics, exalted by illusions of splendid talent and visions of a dawning millennium, crowned him as their emperor, was tame in comparison. I do not know whether anyone really kept his head completely except those who had to keep it because they had to conduct the war at first hand. I should not have kept my own (as far as I did keep it) if I had not at once understood that as a scribe and speaker I too was under the most serious public obligation to keep my grip on realities; but this did not save me from a considerable degree of hyperaesthesia. There were of course some happy people to whom the war meant nothing: all political and general matters lying outside their little circle of interest. But the ordinary war-conscious civilian went mad, the main symptom being a conviction that the whole order of nature had been reversed. All foods, he felt, must now be adulterated. All schools must be closed. No advertisements must be sent to the newspapers, of which new editions must appear and be bought up every ten minutes. Travelling must be stopped, or, that being impossible, greatly hindered. All pretences about fine art and culture and the like must be flung off as an intolerable affectation; and the picture galleries and museums and schools at once occupied by war workers. The British Museum itself was saved only by a hair's breadth. The sincerity of all this, and of much more which would not be believed if I chronicled it, may be established by one conclusive instance of the general craziness. Men were seized with the illusion that they could win the war by giving away money. And they not only subscribed millions to Funds of all sorts with no discoverable object, and to ridiculous voluntary organizations for doing what was plainly the business of the civil and military authorities, but actually handed out money to any thief in the street who had the presence of mind to pretend that he (or she) was "collecting" it for the annihilation of the enemy. Swindlers were emboldened to take offices; label themselves Anti-Enemy Leagues; and simply pocket the money that was heaped on them. Attractively dressed young women found that they had nothing to do but parade the streets, collecting-box in hand, and live gloriously on the profits. Many months elapsed before, as a first sign of returning sanity, the police swept an Anti-Enemy secretary into prison pour encourages les autres, and the passionate penny collecting of the Flag Days was brought under some sort of regulation.
Madness in Court
The demoralization did not spare the Law Courts. Soldiers were acquitted, even on fully proved indictments for wilful murder, until at last the judges and magistrates had to announce that what was called the Unwritten Law, which meant simply that a soldier could do what he liked with impunity in civil life, was not the law of the land, and that a Victoria Cross did not carry with it a perpetual plenary indulgence. Unfortunately the insanity of the juries and magistrates did not always manifest itself in indulgence. No person unlucky enough to be charged with any sort of conduct, however reasonable and salutary, that did not smack of war delirium, had the slightest chance of acquittal. There were in the country, too, a certain number of people who had conscientious objections to war as criminal or unchristian. The Act of Parliament introducing Compulsory Military Service thoughtlessly exempted these persons, merely requiring them to prove the genuineness of their convictions. Those who did so were very ill-advised from the point of view of their own personal interest; for they were persecuted with savage logicality in spite of the law; whilst those who made no pretence of having any objection to war at all, and had not only had military training in Officers' Training Corps, but had proclaimed on public occasions that they were perfectly ready to engage in civil war on behalf of their political opinions, were allowed the benefit of the Act on the ground that they did not approve of this particular war. For the Christians there was no mercy. In cases where the evidence as to their being killed by ill treatment was so unequivocal that the verdict would certainly have been one of wilful murder had the prejudice of the coroner's jury been on the other side, their tormentors were gratuitously declared to be blameless. There was only one virtue, pugnacity: only one vice, pacifism. That is an essential condition of war; but the Government had not the courage to legislate accordingly; and its law was set aside for Lynch law.
The climax of legal lawlessness was reached in France. The greatest Socialist statesman in Europe, Jaures, was shot and killed by a gentleman who resented his efforts to avert the war. M. Clemenceau was shot by another gentleman of less popular opinions, and happily came off no worse than having to spend a precautionary couple of days in bed. The slayer of Jaures was recklessly acquitted: the would-be slayer of M. Clemenceau was carefully found guilty. There is no reason to doubt that the same thing would have happened in England if the war had begun with a successful attempt to assassinate Keir Hardie, and ended with an unsuccessful one to assassinate Mr Lloyd George.
The Long Arm of War
The pestilence which is the usual accompaniment of war was called influenza. Whether it was really a war pestilence or not was made doubtful by the fact that it did its worst in places remote from the battlefields, notably on the west coast of North America and in India. But the moral pestilence, which was unquestionably a war pestilence, reproduced this phenomenon. One would have supposed that the war fever would have raged most furiously in the countries actually under fire, and that the others would be more reasonable. Belgium and Flanders, where over large districts literally not one stone was left upon another as the opposed armies drove each other back and forward over it after terrific preliminary bombardments, might have been pardoned for relieving their feelings more emphatically than by shrugging their shoulders and saying, "C'est la guerre." England, inviolate for so many centuries that the swoop of war on her homesteads had long ceased to be more credible than a return of the Flood, could hardly be expected to keep her temper sweet when she knew at last what it was to hide in cellars and underground railway stations, or lie quaking in bed, whilst bombs crashed, houses crumbled, and aircraft guns distributed shrapnel on friend and foe alike until certain shop windows in London, formerly full of fashionable hats, were filled with steel helmets. Slain and mutilated women and children, and burnt and wrecked dwellings, excuse a good deal of violent language, and produce a wrath on which many suns go down before it is appeased. Yet it was in the United States of America where nobody slept the worse for the war, that the war fever went beyond all sense and reason. In European Courts there was vindictive illegality: in American Courts there was raving lunacy. It is not for me to chronicle the extravagances of an Ally: let some candid American do that. I can only say that to us sitting in our gardens in England, with the guns in France making themselves felt by a throb in the air as unmistakeable as an audible sound, or with tightening hearts studying the phases of the moon in London in their bearing on the chances whether our houses would be standing or ourselves alive next morning, the newspaper accounts of the sentences American Courts were passing on young girls and old men alike for the expression of opinions which were being uttered amid thundering applause before huge audiences in England, and the more private records of the methods by which the American War Loans were raised, were so amazing that they put the guns and the possibilities of a raid clean out of our heads for the moment.
The Rabid Watchdogs of Liberty
Not content with these rancorous abuses of the existing law, the war maniacs made a frantic rush to abolish all constitutional guarantees of liberty and well-being. The ordinary law was superseded by Acts under which newspapers were seized and their printing machinery destroyed by simple police raids a la Russe, and persons arrested and shot without any pretence of trial by jury or publicity of procedure or evidence. Though it was urgently necessary that production should be increased by the most scientific organization and economy of labor, and though no fact was better established than that excessive duration and intensity of toil reduces production heavily instead of increasing it, the factory laws were suspended, and men and women recklessly over-worked until the loss of their efficiency became too glaring to be ignored. Remonstrances and warnings were met either with an accusation of pro-Germanism or the formula, "Remember that we are at war now." I have said that men assumed that war had reversed the order of nature, and that all was lost unless we did the exact opposite of everything we had found necessary and beneficial in peace. But the truth was worse than that. The war did not change men's minds in any such impossible way. What really happened was that the impact of physical death and destruction, the one reality that every fool can understand, tore off the masks of education, art, science and religion from our ignorance and barbarism, and left us glorying grotesquely in the licence suddenly accorded to our vilest passions and most abject terrors. Ever since Thucydides wrote his history, it has been on record that when the angel of death sounds his trumpet the pretences of civilization are blown from men's heads into the mud like hats in a gust of wind. But when this scripture was fulfilled among us, the shock was not the less appalling because a few students of Greek history were not surprised by it. Indeed these students threw themselves into the orgy as shamelessly as the illiterate. The Christian priest, joining in the war dance without even throwing off his cassock first, and the respectable school governor expelling the German professor with insult and bodily violence, and declaring that no English child should ever again be taught the language of Luther and Goethe, were kept in countenance by the most impudent repudiations of every decency of civilization and every lesson of political experience on the part of the very persons who, as university professors, historians, philosophers, and men of science, were the accredited custodians of culture. It was crudely natural, and perhaps necessary for recruiting purposes, that German militarism and German dynastic ambition should be painted by journalists and recruiters in black and red as European dangers (as in fact they are), leaving it to be inferred that our own militarism and our own political constitution are millennially democratic (which they certainly are not); but when it came to frantic denunciations of German chemistry, German biology, German poetry, German music, German literature, German philosophy, and even German engineering, as malignant abominations standing towards British and French chemistry and so forth in the relation of heaven to hell, it was clear that the utterers of such barbarous ravings had never really understood or cared for the arts and sciences they professed and were profaning, and were only the appallingly degenerate descendants of the men of the seventeenth and eighteenth centuries who, recognizing no national frontiers in the great realm of the human mind, kept the European comity of that realm loftily and even ostentatiously above the rancors of the battle-field. Tearing the Garter from the Kaiser's leg, striking the German dukes from the roll of our peerage, changing the King's illustrious and historically appropriate surname (for the war was the old war of Guelph against Ghibelline, with the Kaiser as Arch-Ghibelline) to that of a traditionless locality. One felt that the figure of St. George and the Dragon on our coinage should be replaced by that of the soldier driving his spear through Archimedes. But by that time there was no coinage: only paper money in which ten shillings called itself a pound as confidently as the people who were disgracing their country called themselves patriots.
The Sufferings of the Sane
The mental distress of living amid the obscene din of all these carmagnoles and corobberies was not the only burden that lay on sane people during the war. There was also the emotional strain, complicated by the offended economic sense, produced by the casualty lists. The stupid, the selfish, the narrow-minded, the callous and unimaginative were spared a great deal. "Blood and destruction shall be so in use that mothers shall but smile when they behold their infantes quartered by the hands of war," was a Shakespearean prophecy that very nearly came true; for when nearly every house had a slaughtered son to mourn, we should all have gone quite out of our senses if we had taken our own and our friend's bereavements at their peace value. It became necessary to give them a false value; to proclaim the young life worthily and gloriously sacrificed to redeem the liberty of mankind, instead of to expiate the heedlessness and folly of their fathers, and expiate it in vain. We had even to assume that the parents and not the children had made the sacrifice, until at last the comic papers were driven to satirize fat old men, sitting comfortably in club chairs, and boasting of the sons they had "given" to their country.
No one grudged these anodynes to acute personal grief; but they only embittered those who knew that the young men were having their teeth set on edge because their parents had eaten sour political grapes. Then think of the young men themselves! Many of them had no illusions about the policy that led to the war: they went clear-sighted to a horribly repugnant duty. Men essentially gentle and essentially wise, with really valuable work in hand, laid it down voluntarily and spent months forming fours in the barrack yard, and stabbing sacks of straw in the public eye, so that they might go out to kill and maim men as gentle as themselves. These men, who were perhaps, as a class, our most efficient soldiers (Frederick Keeling, for example), were not duped for a moment by the hypocritical melodrama that consoled and stimulated the others. They left their creative work to drudge at destruction, exactly as they would have left it to take their turn at the pumps in a sinking ship. They did not, like some of the conscientious objectors, hold back because the ship had been neglected by its officers and scuttled by its wreckers. The ship had to be saved, even if Newton had to leave his fluxions and Michael Angelo his marbles to save it; so they threw away the tools of their beneficent and ennobling trades, and took up the blood-stained bayonet and the murderous bomb, forcing themselves to pervert their divine instinct for perfect artistic execution to the effective handling of these diabolical things, and their economic faculty for organization to the contriving of ruin and slaughter. For it gave an ironic edge to their tragedy that the very talents they were forced to prostitute made the prostitution not only effective, but even interesting; so that some of them were rapidly promoted, and found themselves actually becoming artists in wax, with a growing relish for it, like Napoleon and all the other scourges of mankind, in spite of themselves. For many of them there was not even this consolation. They "stuck it," and hated it, to the end.
Evil in the Throne of Good
This distress of the gentle was so acute that those who shared it in civil life, without having to shed blood with their own hands, or witness destruction with their own eyes, hardly care to obtrude their own woes. Nevertheless, even when sitting at home in safety, it was not easy for those who had to write and speak about the war to throw away their highest conscience, and deliberately work to a standard of inevitable evil instead of to the ideal of life more abundant. I can answer for at least one person who found the change from the wisdom of Jesus and St. Francis to the morals of Richard III and the madness of Don Quixote extremely irksome. But that change had to be made; and we are all the worse for it, except those for whom it was not really a change at all, but only a relief from hypocrisy.
Think, too, of those who, though they had neither to write nor to fight, and had no children of their own to lose, yet knew the inestimable loss to the world of four years of the life of a generation wasted on destruction. Hardly one of the epoch-making works of the human mind might not have been aborted or destroyed by taking their authors away from their natural work for four critical years. Not only were Shakespeares and Platos being killed outright; but many of the best harvests of the survivors had to be sown in the barren soil of the trenches. And this was no mere British consideration. To the truly civilized man, to the good European, the slaughter of the German youth was as disastrous as the slaughter of the English. Fools exulted in "German losses." They were our losses as well. Imagine exulting in the death of Beethoven because Bill Sykes dealt him his death blow!
Straining at the Gnat and swallowing the Camel
But most people could not comprehend these sorrows. There was a frivolous exultation in death for its own sake, which was at bottom an inability to realize that the deaths were real deaths and not stage ones. Again and again, when an air raider dropped a bomb which tore a child and its mother limb from limb, the people who saw it, though they had been reading with great cheerfulness of thousands of such happenings day after day in their newspapers, suddenly burst into furious imprecations on "the Huns" as murderers, and shrieked for savage and satisfying vengeance. At such moments it became clear that the deaths they had not seen meant no more to them than the mimic death of the cinema screen. Sometimes it was not necessary that death should be actually witnessed: it had only to take place under circumstances of sufficient novelty and proximity to bring it home almost as sensationally and effectively as if it had been actually visible.
For example, in the spring of 1915 there was an appalling slaughter of our young soldiers at Neuve Chapelle and at the Gallipoli landing. I will not go so far as to say that our civilians were delighted to have such exciting news to read at breakfast. But I cannot pretend that I noticed either in the papers, or in general intercourse, any feeling beyond the usual one that the cinema show at the front was going splendidly, and that our boys were the bravest of the brave. Suddenly there came the news that an Atlantic liner, the Lusitania, had been torpedoed, and that several well-known first-class passengers, including a famous theatrical manager and the author of a popular farce, had been drowned, among others. The others included Sir Hugh Lane; but as he had only laid the country under great obligations in the sphere of the fine arts, no great stress was laid on that loss. Immediately an amazing frenzy swept through the country. Men who up to that time had kept their heads now lost them utterly. "Killing saloon passengers! What next?" was the essence of the whole agitation; but it is far too trivial a phrase to convey the faintest notion of the rage which possessed us. To me, with my mind full of the hideous cost of Neuve Chapelle, Ypres, and the Gallipoli landing, the fuss about the Lusitania seemed almost a heartless impertinence, though I was well acquainted personally with the three best-known victims, and understood, better perhaps than most people, the misfortune of the death of Lane. I even found a grim satisfaction, very intelligible to all soldiers, in the fact that the civilians who found the war such splendid British sport should get a sharp taste of what it was to the actual combatants. I expressed my impatience very freely, and found that my very straightforward and natural feeling in the matter was received as a monstrous and heartless paradox. When I asked those who gaped at me whether they had anything to say about the holocaust of Festubert, they gaped wider than before, having totally forgotten it, or rather, having never realized it. They were not heartless anymore than I was; but the big catastrophe was too big for them to grasp, and the little one had been just the right size for them. I was not surprised. Have I not seen a public body for just the same reason pass a vote for L30,000 without a word, and then spend three special meetings, prolonged into the night, over an item of seven shillings for refreshments?
Little Minds and Big Battles
Nobody will be able to understand the vagaries of public feeling during the war unless they bear constantly in mind that the war in its entire magnitude did not exist for the average civilian. He could not conceive even a battle, much less a campaign. To the suburbs the war was nothing but a suburban squabble. To the miner and navvy it was only a series of bayonet fights between German champions and English ones. The enormity of it was quite beyond most of us. Its episodes had to be reduced to the dimensions of a railway accident or a shipwreck before it could produce any effect on our minds at all. To us the ridiculous bombardments of Scarborough and Ramsgate were colossal tragedies, and the battle of Jutland a mere ballad. The words "after thorough artillery preparation" in the news from the front meant nothing to us; but when our seaside trippers learned that an elderly gentleman at breakfast in a week-end marine hotel had been interrupted by a bomb dropping into his egg-cup, their wrath and horror knew no bounds. They declared that this would put a new spirit into the army; and had no suspicion that the soldiers in the trenches roared with laughter over it for days, and told each other that it would do the blighters at home good to have a taste of what the army was up against. Sometimes the smallness of view was pathetic. A man would work at home regardless of the call "to make the world safe for democracy." His brother would be killed at the front. Immediately he would throw up his work and take up the war as a family blood feud against the Germans. Sometimes it was comic. A wounded man, entitled to his discharge, would return to the trenches with a grim determination to find the Hun who had wounded him and pay him out for it.
It is impossible to estimate what proportion of us, in khaki or out of it, grasped the war and its political antecedents as a whole in the light of any philosophy of history or knowledge of what war is. I doubt whether it was as high as our proportion of higher mathematicians. But there can be no doubt that it was prodigiously outnumbered by the comparatively ignorant and childish. Remember that these people had to be stimulated to make the sacrifices demanded by the war, and that this could not be done by appeals to a knowledge which they did not possess, and a comprehension of which they were incapable. When the armistice at last set me free to tell the truth about the war at the following general election, a soldier said to a candidate whom I was supporting, "If I had known all that in 1914, they would never have got me into khaki." And that, of course, was precisely why it had been necessary to stuff him with a romance that any diplomatist would have laughed at. Thus the natural confusion of ignorance was increased by a deliberately propagated confusion of nursery bogey stories and melodramatic nonsense, which at last overreached itself and made it impossible to stop the war before we had not only achieved the triumph of vanquishing the German army and thereby overthrowing its militarist monarchy, but made the very serious mistake of ruining the centre of Europe, a thing that no sane European State could afford to do.
The Dumb Capables and the Noisy Incapables
Confronted with this picture of insensate delusion and folly, the critical reader will immediately counterplead that England all this time was conducting a war which involved the organization of several millions of fighting men and of the workers who were supplying them with provisions, munitions, and transport, and that this could not have been done by a mob of hysterical ranters. This is fortunately true. To pass from the newspaper offices and political platforms and club fenders and suburban drawing-rooms to the Army and the munition factories was to pass from Bedlam to the busiest and sanest of workaday worlds. It was to rediscover England, and find solid ground for the faith of those who still believed in her. But a necessary condition of this efficiency was that those who were efficient should give all their time to their business and leave the rabble raving to its heart's content. Indeed the raving was useful to the efficient, because, as it was always wide of the mark, it often distracted attention very conveniently from operations that would have been defeated or hindered by publicity. A precept which I endeavored vainly to popularize early in the war, "If you have anything to do go and do it: if not, for heaven's sake get out of the way," was only half carried out. Certainly the capable people went and did it; but the incapables would by no means get out of the way: they fussed and bawled and were only prevented from getting very seriously into the way by the blessed fact that they never knew where the way was. Thus whilst all the efficiency of England was silent and invisible, all its imbecility was deafening the heavens with its clamor and blotting out the sun with its dust. It was also unfortunately intimidating the Government by its blusterings into using the irresistible powers of the State to intimidate the sensible people, thus enabling a despicable minority of would-be lynchers to set up a reign of terror which could at any time have been broken by a single stern word from a responsible minister. But our ministers had not that sort of courage: neither Heartbreak House nor Horseback Hall had bred it, much less the suburbs. When matters at last came to the looting of shops by criminals under patriotic pretexts, it was the police force and not the Government that put its foot down. There was even one deplorable moment, during the submarine scare, in which the Government yielded to a childish cry for the maltreatment of naval prisoners of war, and, to our great disgrace, was forced by the enemy to behave itself. And yet behind all this public blundering and misconduct and futile mischief, the effective England was carrying on with the most formidable capacity and activity. The ostensible England was making the empire sick with its incontinences, its ignorances, its ferocities, its panics, and its endless and intolerable blarings of Allied national anthems in season and out. The esoteric England was proceeding irresistibly to the conquest of Europe.
The Practical Business Men
From the beginning the useless people set up a shriek for "practical business men." By this they meant men who had become rich by placing their personal interests before those of the country, and measuring the success of every activity by the pecuniary profit it brought to them and to those on whom they depended for their supplies of capital. The pitiable failure of some conspicuous samples from the first batch we tried of these poor devils helped to give the whole public side of the war an air of monstrous and hopeless farce. They proved not only that they were useless for public work, but that in a well-ordered nation they would never have been allowed to control private enterprise.
How the Fools shouted the Wise Men down
Thus, like a fertile country flooded with mud, England showed no sign of her greatness in the days when she was putting forth all her strength to save herself from the worst consequences of her littleness. Most of the men of action, occupied to the last hour of their time with urgent practical work, had to leave to idler people, or to professional rhetoricians, the presentation of the war to the reason and imagination of the country and the world in speeches, poems, manifestoes, picture posters, and newspaper articles. I have had the privilege of hearing some of our ablest commanders talking about their work; and I have shared the common lot of reading the accounts of that work given to the world by the newspapers. No two experiences could be more different. But in the end the talkers obtained a dangerous ascendancy over the rank and file of the men of action; for though the great men of action are always inveterate talkers and often very clever writers, and therefore cannot have their minds formed for them by others, the average man of action, like the average fighter with the bayonet, can give no account of himself in words even to himself, and is apt to pick up and accept what he reads about himself and other people in the papers, except when the writer is rash enough to commit himself on technical points. It was not uncommon during the war to hear a soldier, or a civilian engaged on war work, describing events within his own experience that reduced to utter absurdity the ravings and maunderings of his daily paper, and yet echo the opinions of that paper like a parrot. Thus, to escape from the prevailing confusion and folly, it was not enough to seek the company of the ordinary man of action: one had to get into contact with the master spirits. This was a privilege which only a handful of people could enjoy. For the unprivileged citizen there was no escape. To him the whole country seemed mad, futile, silly, incompetent, with no hope of victory except the hope that the enemy might be just as mad. Only by very resolute reflection and reasoning could he reassure himself that if there was nothing more solid beneath their appalling appearances the war could not possibly have gone on for a single day without a total breakdown of its organization.
The Mad Election
Happy were the fools and the thoughtless men of action in those days. The worst of it was that the fools were very strongly represented in parliament, as fools not only elect fools, but can persuade men of action to elect them too. The election that immediately followed the armistice was perhaps the maddest that has ever taken place. Soldiers who had done voluntary and heroic service in the field were defeated by persons who had apparently never run a risk or spent a farthing that they could avoid, and who even had in the course of the election to apologize publicly for bawling Pacifist or Pro-German at their opponent. Party leaders seek such followers, who can always be depended on to walk tamely into the lobby at the party whip's orders, provided the leader will make their seats safe for them by the process which was called, in derisive reference to the war rationing system, "giving them the coupon." Other incidents were so grotesque that I cannot mention them without enabling the reader to identify the parties, which would not be fair, as they were no more to blame than thousands of others who must necessarily be nameless. The general result was patently absurd; and the electorate, disgusted at its own work, instantly recoiled to the opposite extreme, and cast out all the coupon candidates at the earliest bye-elections by equally silly majorities. But the mischief of the general election could not be undone; and the Government had not only to pretend to abuse its European victory as it had promised, but actually to do it by starving the enemies who had thrown down their arms. It had, in short, won the election by pledging itself to be thriftlessly wicked, cruel, and vindictive; and it did not find it as easy to escape from this pledge as it had from nobler ones. The end, as I write, is not yet; but it is clear that this thoughtless savagery will recoil on the heads of the Allies so severely that we shall be forced by the sternest necessity to take up our share of healing the Europe we have wounded almost to death instead of attempting to complete her destruction.
The Yahoo and the Angry Ape
Contemplating this picture of a state of mankind so recent that no denial of its truth is possible, one understands Shakespeare comparing Man to an angry ape, Swift describing him as a Yahoo rebuked by the superior virtue of the horse, and Wellington declaring that the British can behave themselves neither in victory nor defeat. Yet none of the three had seen war as we have seen it. Shakespeare blamed great men, saying that "Could great men thunder as Jove himself does, Jove would ne'er be quiet; for every pelting petty officer would use his heaven for thunder: nothing but thunder." What would Shakespeare have said if he had seen something far more destructive than thunder in the hand of every village laborer, and found on the Messines Ridge the craters of the nineteen volcanoes that were let loose there at the touch of a finger that might have been a child's finger without the result being a whit less ruinous? Shakespeare may have seen a Stratford cottage struck by one of Jove's thunderbolts, and have helped to extinguish the lighted thatch and clear away the bits of the broken chimney. What would he have said if he had seen Ypres as it is now, or returned to Stratford, as French peasants are returning to their homes to-day, to find the old familiar signpost inscribed "To Stratford, 1 mile," and at the end of the mile nothing but some holes in the ground and a fragment of a broken churn here and there? Would not the spectacle of the angry ape endowed with powers of destruction that Jove never pretended to, have beggared even his command of words?
And yet, what is there to say except that war puts a strain on human nature that breaks down the better half of it, and makes the worse half a diabolical virtue? Better, for us if it broke it down altogether, for then the warlike way out of our difficulties would be barred to us, and we should take greater care not to get into them. In truth, it is, as Byron said, "not difficult to die," and enormously difficult to live: that explains why, at bottom, peace is not only better than war, but infinitely more arduous. Did any hero of the war face the glorious risk of death more bravely than the traitor Bolo faced the ignominious certainty of it? Bolo taught us all how to die: can we say that he taught us all how to live? Hardly a week passes now without some soldier who braved death in the field so recklessly that he was decorated or specially commended for it, being haled before our magistrates for having failed to resist the paltriest temptations of peace, with no better excuse than the old one that "a man must live." Strange that one who, sooner than do honest work, will sell his honor for a bottle of wine, a visit to the theatre, and an hour with a strange woman, all obtained by passing a worthless cheque, could yet stake his life on the most desperate chances of the battle-field! Does it not seem as if, after all, the glory of death were cheaper than the glory of life? If it is not easier to attain, why do so many more men attain it? At all events it is clear that the kingdom of the Prince of Peace has not yet become the kingdom of this world. His attempts at invasion have been resisted far more fiercely than the Kaiser's. Successful as that resistance has been, it has piled up a sort of National Debt that is not the less oppressive because we have no figures for it and do not intend to pay it. A blockade that cuts off "the grace of our Lord" is in the long run less bearable than the blockades which merely cut off raw materials; and against that blockade our Armada is impotent. In the blockader's house, he has assured us, there are many mansions; but I am afraid they do not include either Heartbreak House or Horseback Hall.
Plague on Both your Houses!
Meanwhile the Bolshevist picks and petards are at work on the foundations of both buildings; and though the Bolshevists may be buried in the ruins, their deaths will not save the edifices. Unfortunately they can be built again. Like Doubting Castle, they have been demolished many times by successive Greathearts, and rebuilt by Simple, Sloth, and Presumption, by Feeble Mind and Much Afraid, and by all the jurymen of Vanity Fair. Another generation of "secondary education" at our ancient public schools and the cheaper institutions that ape them will be quite sufficient to keep the two going until the next war. For the instruction of that generation I leave these pages as a record of what civilian life was during the war: a matter on which history is usually silent. Fortunately it was a very short war. It is true that the people who thought it could not last more than six months were very signally refuted by the event. As Sir Douglas Haig has pointed out, its Waterloos lasted months instead of hours. But there would have been nothing surprising in its lasting thirty years. If it had not been for the fact that the blockade achieved the amazing feat of starving out Europe, which it could not possibly have done had Europe been properly organized for war, or even for peace, the war would have lasted until the belligerents were so tired of it that they could no longer be compelled to compel themselves to go on with it. Considering its magnitude, the war of 1914-18 will certainly be classed as the shortest in history. The end came so suddenly that the combatant literally stumbled over it; and yet it came a full year later than it should have come if the belligerents had not been far too afraid of one another to face the situation sensibly. Germany, having failed to provide for the war she began, failed again to surrender before she was dangerously exhausted. Her opponents, equally improvident, went as much too close to bankruptcy as Germany to starvation. It was a bluff at which both were bluffed. And, with the usual irony of war, it remains doubtful whether Germany and Russia, the defeated, will not be the gainers; for the victors are already busy fastening on themselves the chains they have struck from the limbs of the vanquished.
How the Theatre fared
Let us now contract our view rather violently from the European theatre of war to the theatre in which the fights are sham fights, and the slain, rising the moment the curtain has fallen, go comfortably home to supper after washing off their rose-pink wounds. It is nearly twenty years since I was last obliged to introduce a play in the form of a book for lack of an opportunity of presenting it in its proper mode by a performance in a theatre. The war has thrown me back on this expedient. Heartbreak House has not yet reached the stage. I have withheld it because the war has completely upset the economic conditions which formerly enabled serious drama to pay its way in London. The change is not in the theatres nor in the management of them, nor in the authors and actors, but in the audiences. For four years the London theatres were crowded every night with thousands of soldiers on leave from the front. These soldiers were not seasoned London playgoers. A childish experience of my own gave me a clue to their condition. When I was a small boy I was taken to the opera. I did not then know what an opera was, though I could whistle a good deal of opera music. I had seen in my mother's album photographs of all the great opera singers, mostly in evening dress. In the theatre I found myself before a gilded balcony filled with persons in evening dress whom I took to be the opera singers. I picked out one massive dark lady as Alboni, and wondered how soon she would stand up and sing. I was puzzled by the fact that I was made to sit with my back to the singers instead of facing them. When the curtain went up, my astonishment and delight were unbounded.
The Soldier at the Theatre Front
In 1915, I saw in the theatres men in khaki in just the same predicament. To everyone who had my clue to their state of mind it was evident that they had never been in a theatre before and did not know what it was. At one of our great variety theatres I sat beside a young officer, not at all a rough specimen, who, even when the curtain rose and enlightened him as to the place where he had to look for his entertainment, found the dramatic part of it utterly incomprehensible. He did not know how to play his part of the game. He could understand the people on the stage singing and dancing and performing gymnastic feats. He not only understood but intensely enjoyed an artist who imitated cocks crowing and pigs squeaking. But the people who pretended that they were somebody else, and that the painted picture behind them was real, bewildered him. In his presence I realized how very sophisticated the natural man has to become before the conventions of the theatre can be easily acceptable, or the purpose of the drama obvious to him.
Well, from the moment when the routine of leave for our soldiers was established, such novices, accompanied by damsels (called flappers) often as innocent as themselves, crowded the theatres to the doors. It was hardly possible at first to find stuff crude enough to nurse them on. The best music-hall comedians ransacked their memories for the oldest quips and the most childish antics to avoid carrying the military spectators out of their depth. I believe that this was a mistake as far as the novices were concerned. Shakespeare, or the dramatized histories of George Barnwell, Maria Martin, or the Demon Barber of Fleet Street, would probably have been quite popular with them. But the novices were only a minority after all. The cultivated soldier, who in time of peace would look at nothing theatrical except the most advanced postIbsen plays in the most artistic settings, found himself, to his own astonishment, thirsting for silly jokes, dances, and brainlessly sensuous exhibitions of pretty girls. The author of some of the most grimly serious plays of our time told me that after enduring the trenches for months without a glimpse of the female of his species, it gave him an entirely innocent but delightful pleasure merely to see a flapper. The reaction from the battle-field produced a condition of hyperaesthesia in which all the theatrical values were altered. Trivial things gained intensity and stale things novelty. The actor, instead of having to coax his audiences out of the boredom which had driven them to the theatre in an ill humor to seek some sort of distraction, had only to exploit the bliss of smiling men who were no longer under fire and under military discipline, but actually clean and comfortable and in a mood to be pleased with anything and everything that a bevy of pretty girls and a funny man, or even a bevy of girls pretending to be pretty and a man pretending to be funny, could do for them.
Then could be seen every night in the theatres oldfashioned farcical comedies, in which a bedroom, with four doors on each side and a practicable window in the middle, was understood to resemble exactly the bedroom in the flats beneath and above, all three inhabited by couples consumed with jealousy. When these people came home drunk at night; mistook their neighbor's flats for their own; and in due course got into the wrong beds, it was not only the novices who found the resulting complications and scandals exquisitely ingenious and amusing, nor their equally verdant flappers who could not help squealing in a manner that astonished the oldest performers when the gentleman who had just come in drunk through the window pretended to undress, and allowed glimpses of his naked person to be descried from time to time.
Men who had just read the news that Charles Wyndham was dying, and were thereby sadly reminded of Pink Dominos and the torrent of farcical comedies that followed it in his heyday until every trick of that trade had become so stale that the laughter they provoked turned to loathing: these veterans also, when they returned from the field, were as much pleased by what they knew to be stale and foolish as the novices by what they thought fresh and clever.
Commerce in the Theatre
Wellington said that an army moves on its belly. So does a London theatre. Before a man acts he must eat. Before he performs plays he must pay rent. In London we have no theatres for the welfare of the people: they are all for the sole purpose of producing the utmost obtainable rent for the proprietor. If the twin flats and twin beds produce a guinea more than Shakespeare, out goes Shakespeare and in come the twin flats and the twin beds. If the brainless bevy of pretty girls and the funny man outbid Mozart, out goes Mozart.
Before the war an effort was made to remedy this by establishing a national theatre in celebration of the tercentenary of the death of Shakespeare. A committee was formed; and all sorts of illustrious and influential persons lent their names to a grand appeal to our national culture. My play, The Dark Lady of The Sonnets, was one of the incidents of that appeal. After some years of effort the result was a single handsome subscription from a German gentleman. Like the celebrated swearer in the anecdote when the cart containing all his household goods lost its tailboard at the top of the hill and let its contents roll in ruin to the bottom, I can only say, "I cannot do justice to this situation," and let it pass without another word.
The Higher Drama put out of Action
The effect of the war on the London theatres may now be imagined. The beds and the bevies drove every higher form of art out of it. Rents went up to an unprecedented figure. At the same time prices doubled everywhere except at the theatre pay-boxes, and raised the expenses of management to such a degree that unless the houses were quite full every night, profit was impossible. Even bare solvency could not be attained without a very wide popularity. Now what had made serious drama possible to a limited extent before the war was that a play could pay its way even if the theatre were only half full until Saturday and three-quarters full then. A manager who was an enthusiast and a desperately hard worker, with an occasional grant-in-aid from an artistically disposed millionaire, and a due proportion of those rare and happy accidents by which plays of the higher sort turn out to be potboilers as well, could hold out for some years, by which time a relay might arrive in the person of another enthusiast. Thus and not otherwise occurred that remarkable revival of the British drama at the beginning of the century which made my own career as a playwright possible in England. In America I had already established myself, not as part of the ordinary theatre system, but in association with the exceptional genius of Richard Mansfield. In Germany and Austria I had no difficulty: the system of publicly aided theatres there, Court and Municipal, kept drama of the kind I dealt in alive; so that I was indebted to the Emperor of Austria for magnificent productions of my works at a time when the sole official attention paid me by the British Courts was the announcement to the English-speaking world that certain plays of mine were unfit for public performance, a substantial set-off against this being that the British Court, in the course of its private playgoing, paid no regard to the bad character given me by the chief officer of its household.
Howbeit, the fact that my plays effected a lodgment on the London stage, and were presently followed by the plays of Granville Barker, Gilbert Murray, John Masefield, St. John Hankin, Lawrence Housman, Arnold Bennett, John Galsworthy, John Drinkwater, and others which would in the nineteenth century have stood rather less chance of production at a London theatre than the Dialogues of Plato, not to mention revivals of the ancient Athenian drama and a restoration to the stage of Shakespeare's plays as he wrote them, was made economically possible solely by a supply of theatres which could hold nearly twice as much money as it cost to rent and maintain them. In such theatres work appealing to a relatively small class of cultivated persons, and therefore attracting only from half to three-quarters as many spectators as the more popular pastimes, could nevertheless keep going in the hands of young adventurers who were doing it for its own sake, and had not yet been forced by advancing age and responsibilities to consider the commercial value of their time and energy too closely. The war struck this foundation away in the manner I have just described. The expenses of running the cheapest west-end theatres rose to a sum which exceeded by twenty-five per cent the utmost that the higher drama can, as an ascertained matter of fact, be depended on to draw. Thus the higher drama, which has never really been a commercially sound speculation, now became an impossible one. Accordingly, attempts are being made to provide a refuge for it in suburban theatres in London and repertory theatres in the provinces. But at the moment when the army has at last disgorged the survivors of the gallant band of dramatic pioneers whom it swallowed, they find that the economic conditions which formerly made their work no worse than precarious now put it out of the question altogether, as far as the west end of London is concerned.
Church and Theatre
I do not suppose many people care particularly. We are not brought up to care; and a sense of the national importance of the theatre is not born in mankind: the natural man, like so many of the soldiers at the beginning of the war, does not know what a theatre is. But please note that all these soldiers who did not know what a theatre was, knew what a church was. And they had been taught to respect churches. Nobody had ever warned them against a church as a place where frivolous women paraded in their best clothes; where stories of improper females like Potiphar's wife, and erotic poetry like the Song of Songs, were read aloud; where the sensuous and sentimental music of Schubert, Mendelssohn, Gounod, and Brahms was more popular than severe music by greater composers; where the prettiest sort of pretty pictures of pretty saints assailed the imagination and senses through stained-glass windows; and where sculpture and architecture came to the help of painting. Nobody ever reminded them that these things had sometimes produced such developments of erotic idolatry that men who were not only enthusiastic amateurs of literature, painting, and music, but famous practitioners of them, had actually exulted when mobs and even regular troops under express command had mutilated church statues, smashed church windows, wrecked church organs, and torn up the sheets from which the church music was read and sung. When they saw broken statues in churches, they were told that this was the work of wicked, godless rioters, instead of, as it was, the work partly of zealots bent on driving the world, the flesh, and the devil out of the temple, and partly of insurgent men who had become intolerably poor because the temple had become a den of thieves. But all the sins and perversions that were so carefully hidden from them in the history of the Church were laid on the shoulders of the Theatre: that stuffy, uncomfortable place of penance in which we suffer so much inconvenience on the slenderest chance of gaining a scrap of food for our starving souls. When the Germans bombed the Cathedral of Rheims the world rang with the horror of the sacrilege. When they bombed the Little Theatre in the Adelphi, and narrowly missed bombing two writers of plays who lived within a few yards of it, the fact was not even mentioned in the papers. In point of appeal to the senses no theatre ever built could touch the fane at Rheims: no actress could rival its Virgin in beauty, nor any operatic tenor look otherwise than a fool beside its David. Its picture glass was glorious even to those who had seen the glass of Chartres. It was wonderful in its very grotesques: who would look at the Blondin Donkey after seeing its leviathans? In spite of the Adam-Adelphian decoration on which Miss Kingston had lavished so much taste and care, the Little Theatre was in comparison with Rheims the gloomiest of little conventicles: indeed the cathedral must, from the Puritan point of view, have debauched a million voluptuaries for every one whom the Little Theatre had sent home thoughtful to a chaste bed after Mr Chesterton's Magic or Brieux's Les Avaries. Perhaps that is the real reason why the Church is lauded and the Theatre reviled. Whether or no, the fact remains that the lady to whose public spirit and sense of the national value of the theatre I owed the first regular public performance of a play of mine had to conceal her action as if it had been a crime, whereas if she had given the money to the Church she would have worn a halo for it. And I admit, as I have always done, that this state of things may have been a very sensible one. I have asked Londoners again and again why they pay half a guinea to go to a theatre when they can go to St. Paul's or Westminster Abbey for nothing. Their only possible reply is that they want to see something new and possibly something wicked; but the theatres mostly disappoint both hopes. If ever a revolution makes me Dictator, I shall establish a heavy charge for admission to our churches. But everyone who pays at the church door shall receive a ticket entitling him or her to free admission to one performance at any theatre he or she prefers. Thus shall the sensuous charms of the church service be made to subsidize the sterner virtue of the drama.
The Next Phase
The present situation will not last. Although the newspaper I read at breakfast this morning before writing these words contains a calculation that no less than twenty-three wars are at present being waged to confirm the peace, England is no longer in khaki; and a violent reaction is setting in against the crude theatrical fare of the four terrible years. Soon the rents of theatres will once more be fixed on the assumption that they cannot always be full, nor even on the average half full week in and week out. Prices will change. The higher drama will be at no greater disadvantage than it was before the war; and it may benefit, first, by the fact that many of us have been torn from the fools' paradise in which the theatre formerly traded, and thrust upon the sternest realities and necessities until we have lost both faith in and patience with the theatrical pretences that had no root either in reality or necessity; second, by the startling change made by the war in the distribution of income. It seems only the other day that a millionaire was a man with L50,000 a year. To-day, when he has paid his income tax and super tax, and insured his life for the amount of his death duties, he is lucky if his net income is 10,000 pounds though his nominal property remains the same. And this is the result of a Budget which is called "a respite for the rich." At the other end of the scale millions of persons have had regular incomes for the first time in their lives; and their men have been regularly clothed, fed, lodged, and taught to make up their minds that certain things have to be done, also for the first time in their lives. Hundreds of thousands of women have been taken out of their domestic cages and tasted both discipline and independence. The thoughtless and snobbish middle classes have been pulled up short by the very unpleasant experience of being ruined to an unprecedented extent. We have all had a tremendous jolt; and although the widespread notion that the shock of the war would automatically make a new heaven and a new earth, and that the dog would never go back to his vomit nor the sow to her wallowing in the mire, is already seen to be a delusion, yet we are far more conscious of our condition than we were, and far less disposed to submit to it. Revolution, lately only a sensational chapter in history or a demagogic claptrap, is now a possibility so imminent that hardly by trying to suppress it in other countries by arms and defamation, and calling the process anti-Bolshevism, can our Government stave it off at home.
Perhaps the most tragic figure of the day is the American President who was once a historian. In those days it became his task to tell us how, after that great war in America which was more clearly than any other war of our time a war for an idea, the conquerors, confronted with a heroic task of reconstruction, turned recreant, and spent fifteen years in abusing their victory under cover of pretending to accomplish the task they were doing what they could to make impossible. Alas! Hegel was right when he said that we learn from history that men never learn anything from history. With what anguish of mind the President sees that we, the new conquerors, forgetting everything we professed to fight for, are sitting down with watering mouths to a good square meal of ten years revenge upon and humiliation of our prostrate foe, can only be guessed by those who know, as he does, how hopeless is remonstrance, and how happy Lincoln was in perishing from the earth before his inspired messages became scraps of paper. He knows well that from the Peace Conference will come, in spite of his utmost, no edict on which he will be able, like Lincoln, to invoke "the considerate judgment of mankind: and the gracious favor of Almighty God." He led his people to destroy the militarism of Zabern; and the army they rescued is busy in Cologne imprisoning every German who does not salute a British officer; whilst the government at home, asked whether it approves, replies that it does not propose even to discontinue this Zabernism when the Peace is concluded, but in effect looks forward to making Germans salute British officers until the end of the world. That is what war makes of men and women. It will wear off; and the worst it threatens is already proving impracticable; but before the humble and contrite heart ceases to be despised, the President and I, being of the same age, will be dotards. In the meantime there is, for him, another history to write; for me, another comedy to stage. Perhaps, after all, that is what wars are for, and what historians and playwrights are for. If men will not learn until their lessons are written in blood, why, blood they must have, their own for preference.
The Ephemeral Thrones and the Eternal Theatre
To the theatre it will not matter. Whatever Bastilles fall, the theatre will stand. Apostolic Hapsburg has collapsed; All Highest Hohenzollern languishes in Holland, threatened with trial on a capital charge of fighting for his country against England; Imperial Romanoff, said to have perished miserably by a more summary method of murder, is perhaps alive or perhaps dead: nobody cares more than if he had been a peasant; the lord of Hellas is level with his lackeys in republican Switzerland; Prime Ministers and Commanders-in-Chief have passed from a brief glory as Solons and Caesars into failure and obscurity as closely on one another's heels as the descendants of Banquo; but Euripides and Aristophanes, Shakespeare and Moliere, Goethe and Ibsen remain fixed in their everlasting seats.
How War muzzles the Dramatic Poet
As for myself, why, it may be asked, did I not write two plays about the war instead of two pamphlets on it? The answer is significant. You cannot make war on war and on your neighbor at the same time. War cannot bear the terrible castigation of comedy, the ruthless light of laughter that glares on the stage. When men are heroically dying for their country, it is not the time to show their lovers and wives and fathers and mothers how they are being sacrificed to the blunders of boobies, the cupidity of capitalists, the ambition of conquerors, the electioneering of demagogues, the Pharisaism of patriots, the lusts and lies and rancors and bloodthirsts that love war because it opens their prison doors, and sets them in the thrones of power and popularity. For unless these things are mercilessly exposed they will hide under the mantle of the ideals on the stage just as they do in real life.
And though there may be better things to reveal, it may not, and indeed cannot, be militarily expedient to reveal them whilst the issue is still in the balance. Truth telling is not compatible with the defence of the realm. We are just now reading the revelations of our generals and admirals, unmuzzled at last by the armistice. During the war, General A, in his moving despatches from the field, told how General B had covered himself with deathless glory in such and such a battle. He now tells us that General B came within an ace of losing us the war by disobeying his orders on that occasion, and fighting instead of running away as he ought to have done. An excellent subject for comedy now that the war is over, no doubt; but if General A had let this out at the time, what would have been the effect on General B's soldiers? And had the stage made known what the Prime Minister and the Secretary of State for War who overruled General A thought of him, and what he thought of them, as now revealed in raging controversy, what would have been the effect on the nation? That is why comedy, though sorely tempted, had to be loyally silent; for the art of the dramatic poet knows no patriotism; recognizes no obligation but truth to natural history; cares not whether Germany or England perish; is ready to cry with Brynhild, "Lass'uns verderben, lachend zu grunde geh'n" sooner than deceive or be deceived; and thus becomes in time of war a greater military danger than poison, steel, or trinitrotoluene. That is why I had to withhold Heartbreak House from the footlights during the war; for the Germans might on any night have turned the last act from play into earnest, and even then might not have waited for their cues.
The hilly country in the middle of the north edge of Sussex, looking very pleasant on a fine evening at the end of September, is seen through the windows of a room which has been built so as to resemble the after part of an old-fashioned high-pooped ship, with a stern gallery; for the windows are ship built with heavy timbering, and run right across the room as continuously as the stability of the wall allows. A row of lockers under the windows provides an unupholstered windowseat interrupted by twin glass doors, respectively halfway between the stern post and the sides. Another door strains the illusion a little by being apparently in the ship's port side, and yet leading, not to the open sea, but to the entrance hall of the house. Between this door and the stern gallery are bookshelves. There are electric light switches beside the door leading to the hall and the glass doors in the stern gallery. Against the starboard wall is a carpenter's bench. The vice has a board in its jaws; and the floor is littered with shavings, overflowing from a waste-paper basket. A couple of planes and a centrebit are on the bench. In the same wall, between the bench and the windows, is a narrow doorway with a half door, above which a glimpse of the room beyond shows that it is a shelved pantry with bottles and kitchen crockery.
On the starboard side, but close to the middle, is a plain oak drawing-table with drawing-board, T-square, straightedges, set squares, mathematical instruments, saucers of water color, a tumbler of discolored water, Indian ink, pencils, and brushes on it. The drawing-board is set so that the draughtsman's chair has the window on its left hand. On the floor at the end of the table, on its right, is a ship's fire bucket. On the port side of the room, near the bookshelves, is a sofa with its back to the windows. It is a sturdy mahogany article, oddly upholstered in sailcloth, including the bolster, with a couple of blankets hanging over the back. Between the sofa and the drawing-table is a big wicker chair, with broad arms and a low sloping back, with its back to the light. A small but stout table of teak, with a round top and gate legs, stands against the port wall between the door and the bookcase. It is the only article in the room that suggests (not at all convincingly) a woman's hand in the furnishing. The uncarpeted floor of narrow boards is caulked and holystoned like a deck.
The garden to which the glass doors lead dips to the south before the landscape rises again to the hills. Emerging from the hollow is the cupola of an observatory. Between the observatory and the house is a flagstaff on a little esplanade, with a hammock on the east side and a long garden seat on the west.
A young lady, gloved and hatted, with a dust coat on, is sitting in the window-seat with her body twisted to enable her to look out at the view. One hand props her chin: the other hangs down with a volume of the Temple Shakespeare in it, and her finger stuck in the page she has been reading.
A clock strikes six.
The young lady turns and looks at her watch. She rises with an air of one who waits, and is almost at the end of her patience. She is a pretty girl, slender, fair, and intelligent looking, nicely but not expensively dressed, evidently not a smart idler.
With a sigh of weary resignation she comes to the draughtsman's chair; sits down; and begins to read Shakespeare. Presently the book sinks to her lap; her eyes close; and she dozes into a slumber.
An elderly womanservant comes in from the hall with three unopened bottles of rum on a tray. She passes through and disappears in the pantry without noticing the young lady. She places the bottles on the shelf and fills her tray with empty bottles. As she returns with these, the young lady lets her book drop, awakening herself, and startling the womanservant so that she all but lets the tray fall.
THE WOMANSERVANT. God bless us! [The young lady picks up the book and places it on the table]. Sorry to wake you, miss, I'm sure; but you are a stranger to me. What might you be waiting here for now?
THE YOUNG LADY. Waiting for somebody to show some signs of knowing that I have been invited here.
THE WOMANSERVANT. Oh, you're invited, are you? And has nobody come? Dear! dear!
THE YOUNG LADY. A wild-looking old gentleman came and looked in at the window; and I heard him calling out, "Nurse, there is a young and attractive female waiting in the poop. Go and see what she wants." Are you the nurse?
THE WOMANSERVANT. Yes, miss: I'm Nurse Guinness. That was old Captain Shotover, Mrs Hushabye's father. I heard him roaring; but I thought it was for something else. I suppose it was Mrs Hushabye that invited you, ducky?
THE YOUNG LADY. I understood her to do so. But really I think I'd better go.
NURSE GUINNESS. Oh, don't think of such a thing, miss. If Mrs Hushabye has forgotten all about it, it will be a pleasant surprise for her to see you, won't it?
THE YOUNG LADY. It has been a very unpleasant surprise to me to find that nobody expects me.
NURSE GUINNESS. You'll get used to it, miss: this house is full of surprises for them that don't know our ways.
CAPTAIN SHOTOVER [looking in from the hall suddenly: an ancient but still hardy man with an immense white beard, in a reefer jacket with a whistle hanging from his neck]. Nurse, there is a hold-all and a handbag on the front steps for everybody to fall over. Also a tennis racquet. Who the devil left them there?
THE YOUNG LADY. They are mine, I'm afraid.
THE CAPTAIN [advancing to the drawing-table]. Nurse, who is this misguided and unfortunate young lady?
NURSE GUINNESS. She says Miss Hessy invited her, sir.
THE CAPTAIN. And had she no friend, no parents, to warn her against my daughter's invitations? This is a pretty sort of house, by heavens! A young and attractive lady is invited here. Her luggage is left on the steps for hours; and she herself is deposited in the poop and abandoned, tired and starving. This is our hospitality. These are our manners. No room ready. No hot water. No welcoming hostess. Our visitor is to sleep in the toolshed, and to wash in the duckpond.
NURSE GUINNESS. Now it's all right, Captain: I'll get the lady some tea; and her room shall be ready before she has finished it. [To the young lady]. Take off your hat, ducky; and make yourself at home [she goes to the door leading to the hall].
THE CAPTAIN [as she passes him]. Ducky! Do you suppose, woman, that because this young lady has been insulted and neglected, you have the right to address her as you address my wretched children, whom you have brought up in ignorance of the commonest decencies of social intercourse?
NURSE GUINNESS. Never mind him, doty. [Quite unconcerned, she goes out into the hall on her way to the kitchen].
THE CAPTAIN. Madam, will you favor me with your name? [He sits down in the big wicker chair].
THE YOUNG LADY. My name is Ellie Dunn.
THE CAPTAIN. Dunn! I had a boatswain whose name was Dunn. He was originally a pirate in China. He set up as a ship's chandler with stores which I have every reason to believe he stole from me. No doubt he became rich. Are you his daughter?
ELLIE [indignant]. No, certainly not. I am proud to be able to say that though my father has not been a successful man, nobody has ever had one word to say against him. I think my father is the best man I have ever known.
THE CAPTAIN. He must be greatly changed. Has he attained the seventh degree of concentration?
ELLIE. I don't understand.
THE CAPTAIN. But how could he, with a daughter? I, madam, have two daughters. One of them is Hesione Hushabye, who invited you here. I keep this house: she upsets it. I desire to attain the seventh degree of concentration: she invites visitors and leaves me to entertain them. [Nurse Guinness returns with the tea-tray, which she places on the teak table]. I have a second daughter who is, thank God, in a remote part of the Empire with her numskull of a husband. As a child she thought the figure-head of my ship, the Dauntless, the most beautiful thing on earth. He resembled it. He had the same expression: wooden yet enterprising. She married him, and will never set foot in this house again.
NURSE GUINNESS [carrying the table, with the tea-things on it, to Ellie's side]. Indeed you never were more mistaken. She is in England this very moment. You have been told three times this week that she is coming home for a year for her health. And very glad you should be to see your own daughter again after all these years.
THE CAPTAIN. I am not glad. The natural term of the affection of the human animal for its offspring is six years. My daughter Ariadne was born when I was forty-six. I am now eighty-eight. If she comes, I am not at home. If she wants anything, let her take it. If she asks for me, let her be informed that I am extremely old, and have totally forgotten her.
NURSE GUINNESS. That's no talk to offer to a young lady. Here, ducky, have some tea; and don't listen to him [she pours out a cup of tea].
THE CAPTAIN [rising wrathfully]. Now before high heaven they have given this innocent child Indian tea: the stuff they tan their own leather insides with. [He seizes the cup and the tea-pot and empties both into the leathern bucket].
ELLIE [almost in tears]. Oh, please! I am so tired. I should have been glad of anything.
NURSE GUINNESS. Oh, what a thing to do! The poor lamb is ready to drop.
THE CAPTAIN. You shall have some of my tea. Do not touch that fly-blown cake: nobody eats it here except the dogs. [He disappears into the pantry].
NURSE GUINNESS. There's a man for you! They say he sold himself to the devil in Zanzibar before he was a captain; and the older he grows the more I believe them.
A WOMAN'S VOICE [in the hall]. Is anyone at home? Hesione! Nurse! Papa! Do come, somebody; and take in my luggage.
Thumping heard, as of an umbrella, on the wainscot.
NURSE GUINNESS. My gracious! It's Miss Addy, Lady Utterword, Mrs Hushabye's sister: the one I told the captain about. [Calling]. Coming, Miss, coming.
She carries the table back to its place by the door and is harrying out when she is intercepted by Lady Utterword, who bursts in much flustered. Lady Utterword, a blonde, is very handsome, very well dressed, and so precipitate in speech and action that the first impression (erroneous) is one of comic silliness.
LADY UTTERWORD. Oh, is that you, Nurse? How are you? You don't look a day older. Is nobody at home? Where is Hesione? Doesn't she expect me? Where are the servants? Whose luggage is that on the steps? Where's papa? Is everybody asleep? [Seeing Ellie]. Oh! I beg your pardon. I suppose you are one of my nieces. [Approaching her with outstretched arms]. Come and kiss your aunt, darling.
ELLIE. I'm only a visitor. It is my luggage on the steps.
NURSE GUINNESS. I'll go get you some fresh tea, ducky. [She takes up the tray].
ELLIE. But the old gentleman said he would make some himself.
NURSE GUINNESS. Bless you! he's forgotten what he went for already. His mind wanders from one thing to another.
LADY UTTERWORD. Papa, I suppose?
NURSE GUINNESS. Yes, Miss.
LADY UTTERWORD [vehemently]. Don't be silly, Nurse. Don't call me Miss.
NURSE GUINNESS [placidly]. No, lovey [she goes out with the tea-tray].
LADY UTTERWORD [sitting down with a flounce on the sofa]. I know what you must feel. Oh, this house, this house! I come back to it after twenty-three years; and it is just the same: the luggage lying on the steps, the servants spoilt and impossible, nobody at home to receive anybody, no regular meals, nobody ever hungry because they are always gnawing bread and butter or munching apples, and, what is worse, the same disorder in ideas, in talk, in feeling. When I was a child I was used to it: I had never known anything better, though I was unhappy, and longed all the time—oh, how I longed!—to be respectable, to be a lady, to live as others did, not to have to think of everything for myself. I married at nineteen to escape from it. My husband is Sir Hastings Utterword, who has been governor of all the crown colonies in succession. I have always been the mistress of Government House. I have been so happy: I had forgotten that people could live like this. I wanted to see my father, my sister, my nephews and nieces (one ought to, you know), and I was looking forward to it. And now the state of the house! the way I'm received! the casual impudence of that woman Guinness, our old nurse! really Hesione might at least have been here: some preparation might have been made for me. You must excuse my going on in this way; but I am really very much hurt and annoyed and disillusioned: and if I had realized it was to be like this, I wouldn't have come. I have a great mind to go away without another word [she is on the point of weeping].
ELLIE [also very miserable]. Nobody has been here to receive me either. I thought I ought to go away too. But how can I, Lady Utterword? My luggage is on the steps; and the station fly has gone.
The captain emerges from the pantry with a tray of Chinese lacquer and a very fine tea-set on it. He rests it provisionally on the end of the table; snatches away the drawing-board, which he stands on the floor against table legs; and puts the tray in the space thus cleared. Ellie pours out a cup greedily.
THE CAPTAIN. Your tea, young lady. What! another lady! I must fetch another cup [he makes for the pantry].
LADY UTTERWORD [rising from the sofa, suffused with emotion]. Papa! Don't you know me? I'm your daughter.
THE CAPTAIN. Nonsense! my daughter's upstairs asleep. [He vanishes through the half door].
Lady Utterword retires to the window to conceal her tears.
ELLIE [going to her with the cup]. Don't be so distressed. Have this cup of tea. He is very old and very strange: he has been just like that to me. I know how dreadful it must be: my own father is all the world to me. Oh, I'm sure he didn't mean it.
The captain returns with another cup.
THE CAPTAIN. Now we are complete. [He places it on the tray].
LADY UTTERWORD [hysterically]. Papa, you can't have forgotten me. I am Ariadne. I'm little Paddy Patkins. Won't you kiss me? [She goes to him and throws her arms round his neck].
THE CAPTAIN [woodenly enduring her embrace]. How can you be Ariadne? You are a middle-aged woman: well preserved, madam, but no longer young.
LADY UTTERWORD. But think of all the years and years I have been away, Papa. I have had to grow old, like other people.
THE CAPTAIN [disengaging himself]. You should grow out of kissing strange men: they may be striving to attain the seventh degree of concentration.
LADY UTTERWORD. But I'm your daughter. You haven't seen me for years.
THE CAPTAIN. So much the worse! When our relatives are at home, we have to think of all their good points or it would be impossible to endure them. But when they are away, we console ourselves for their absence by dwelling on their vices. That is how I have come to think my absent daughter Ariadne a perfect fiend; so do not try to ingratiate yourself here by impersonating her [he walks firmly away to the other side of the room].
LADY UTTERWORD. Ingratiating myself indeed! [With dignity]. Very well, papa. [She sits down at the drawing-table and pours out tea for herself].
THE CAPTAIN. I am neglecting my social duties. You remember Dunn? Billy Dunn?
LADY UTTERWORD. DO you mean that villainous sailor who robbed you?
THE CAPTAIN [introducing Ellie]. His daughter. [He sits down on the sofa].
ELLIE [protesting]. No—
Nurse Guinness returns with fresh tea.
THE CAPTAIN. Take that hogwash away. Do you hear?
NURSE. You've actually remembered about the tea! [To Ellie]. Oh, miss, he didn't forget you after all! You HAVE made an impression.
THE CAPTAIN [gloomily]. Youth! beauty! novelty! They are badly wanted in this house. I am excessively old. Hesione is only moderately young. Her children are not youthful.
LADY UTTERWORD. How can children be expected to be youthful in this house? Almost before we could speak we were filled with notions that might have been all very well for pagan philosophers of fifty, but were certainly quite unfit for respectable people of any age.
NURSE. You were always for respectability, Miss Addy.
LADY UTTERWORD. Nurse, will you please remember that I am Lady Utterword, and not Miss Addy, nor lovey, nor darling, nor doty? Do you hear?
NURSE. Yes, ducky: all right. I'll tell them all they must call you My Lady. [She takes her tray out with undisturbed placidity].
LADY UTTERWORD. What comfort? what sense is there in having servants with no manners?
ELLIE [rising and coming to the table to put down her empty cup]. Lady Utterword, do you think Mrs Hushabye really expects me?
LADY UTTERWORD. Oh, don't ask me. You can see for yourself that I've just arrived; her only sister, after twenty-three years' absence! and it seems that I am not expected.
THE CAPTAIN. What does it matter whether the young lady is expected or not? She is welcome. There are beds: there is food. I'll find a room for her myself [he makes for the door].
ELLIE [following him to stop him]. Oh, please—[He goes out]. Lady Utterword, I don't know what to do. Your father persists in believing that my father is some sailor who robbed him.
LADY UTTERWORD. You had better pretend not to notice it. My father is a very clever man; but he always forgot things; and now that he is old, of course he is worse. And I must warn you that it is sometimes very hard to feel quite sure that he really forgets.