The tide was creeping in quietly, putting out long impatient arms of strange rivulets that ran towards the land between ridges of sand. Under the night the pools grew bigger with mysterious rapidity, while the great sea, yet far off, thundered in a regular rhythm along the indistinct line of the horizon. Susan splashed her way back for a few yards without being able to get clear of the water that murmured tenderly all around and, suddenly, with a spiteful gurgle, nearly took her off her feet. Her heart thumped with fear. This place was too big and too empty to die in. To-morrow they would do with her what they liked. But before she died she must tell them--tell the gentlemen in black clothes that there are things no woman can bear. She must explain how it happened. . . . She splashed through a pool, getting wet to the waist, too preoccupied to care. . . . She must explain. "He came in the same way as ever and said, just so: 'Do you think I am going to leave the land to those people from Morbihan that I do not know? Do you? We shall see! Come along, you creature of mischance!' And he put his arms out. Then, Messieurs, I said: 'Before God--never!' And he said, striding at me with open palms: 'There is no God to hold me! Do you understand, you useless carcase. I will do what I like.' And he took me by the shoulders. Then I, Messieurs, called to God for help, and next minute, while he was shaking me, I felt my long scissors in my hand. His shirt was unbuttoned, and, by the candle- light, I saw the hollow of his throat. I cried: 'Let go!' He was crushing my shoulders. He was strong, my man was! Then I thought: No! . . . Must I? . . . Then take!--and I struck in the hollow place. I never saw him fall. . . . The old father never turned his head. He is deaf and childish, gentlemen. . . . Nobody saw him fall. I ran out . . . Nobody saw. . . ."
She had been scrambling amongst the boulders of the Raven and now found herself, all out of breath, standing amongst the heavy shadows of the rocky islet. The Raven is connected with the main land by a natural pier of immense and slippery stones. She intended to return home that way. Was he still standing there? At home. Home! Four idiots and a corpse. She must go back and explain. Anybody would understand. . . .
Below her the night or the sea seemed to pronounce distinctly--
"Aha! I see you at last!"
She started, slipped, fell; and without attempting to rise, listened, terrified. She heard heavy breathing, a clatter of wooden clogs. It stopped.
"Where the devil did you pass?" said an invisible man, hoarsely.
She held her breath. She recognized the voice. She had not seen him fall. Was he pursuing her there dead, or perhaps . . . alive?
She lost her head. She cried from the crevice where she lay huddled, "Never, never!"
"Ah! You are still there. You led me a fine dance. Wait, my beauty, I must see how you look after all this. You wait. . . ."
Millot was stumbling, laughing, swearing meaninglessly out of pure satisfaction, pleased with himself for having run down that fly-by-night. "As if there were such things as ghosts! Bah! It took an old African soldier to show those clodhoppers. . . . But it was curious. Who the devil was she?"
Susan listened, crouching. He was coming for her, this dead man. There was no escape. What a noise he made amongst the stones. . . . She saw his head rise up, then the shoulders. He was tall--her own man! His long arms waved about, and it was his own voice sounding a little strange . . . because of the scissors. She scrambled out quickly, rushed to the edge of the causeway, and turned round. The man stood still on a high stone, detaching himself in dead black on the glitter of the sky.
"Where are you going to?" he called, roughly.
She answered, "Home!" and watched him intensely. He made a striding, clumsy leap on to another boulder, and stopped again, balancing himself, then said--
"Ha! ha! Well, I am going with you. It's the least I can do. Ha! ha! ha!"
She stared at him till her eyes seemed to become glowing coals that burned deep into her brain, and yet she was in mortal fear of making out the well-known features. Below her the sea lapped softly against the rock with a splash continuous and gentle.
The man said, advancing another step--
"I am coming for you. What do you think?"
She trembled. Coming for her! There was no escape, no peace, no hope. She looked round despairingly. Suddenly the whole shadowy coast, the blurred islets, the heaven itself, swayed about twice, then came to a rest. She closed her eyes and shouted--
"Can't you wait till I am dead!"
She was shaken by a furious hate for that shade that pursued her in this world, unappeased even by death in its longing for an heir that would be like other people's children.
"Hey! What?" said Millot, keeping his distance prudently. He was saying to himself: "Look out! Some lunatic. An accident happens soon."
She went on, wildly--
"I want to live. To live alone--for a week--for a day. I must explain to them. . . . I would tear you to pieces, I would kill you twenty times over rather than let you touch me while I live. How many times must I kill you--you blasphemer! Satan sends you here. I am damned too!"
"Come," said Millot, alarmed and conciliating. "I am perfectly alive! . . . Oh, my God!"
She had screamed, "Alive!" and at once vanished before his eyes, as if the islet itself had swerved aside from under her feet. Millot rushed forward, and fell flat with his chin over the edge. Far below he saw the water whitened by her struggles, and heard one shrill cry for help that seemed to dart upwards along the perpendicular face of the rock, and soar past, straight into the high and impassive heaven.
Madame Levaille sat, dry-eyed, on the short grass of the hill side, with her thick legs stretched out, and her old feet turned up in their black cloth shoes. Her clogs stood near by, and further off the umbrella lay on the withered sward like a weapon dropped from the grasp of a vanquished warrior. The Marquis of Chavanes, on horseback, one gloved hand on thigh, looked down at her as she got up laboriously, with groans. On the narrow track of the seaweed-carts four men were carrying inland Susan's body on a hand-barrow, while several others straggled listlessly behind. Madame Levaille looked after the procession. "Yes, Monsieur le Marquis," she said dispassionately, in her usual calm tone of a reasonable old woman. "There are unfortunate people on this earth. I had only one child. Only one! And they won't bury her in consecrated ground!"
Her eyes filled suddenly, and a short shower of tears rolled down the broad cheeks. She pulled the shawl close about her. The Marquis leaned slightly over in his saddle, and said--
"It is very sad. You have all my sympathy. I shall speak to the Cure. She was unquestionably insane, and the fall was accidental. Millot says so distinctly. Good-day, Madame."
And he trotted off, thinking to himself: "I must get this old woman appointed guardian of those idiots, and administrator of the farm. It would be much better than having here one of those other Bacadous, probably a red republican, corrupting my commune."
THE END.......
Sunday, May 20, 2007
The Idiots by Joseph Conrad (part7)
Susan had run out, swerving sharp to the left at the door, and on the edge of the slope crouched down behind a boulder. A dislodged stone went on downwards, rattling as it leaped. When Madame Levaille called out, Susan could have, by stretching her hand, touched her mother's skirt, had she had the courage to move a limb. She saw the old woman go away, and she remained still, closing her eyes and pressing her side to the hard and rugged surface of the rock. After a while a familiar face with fixed eyes and an open mouth became visible in the intense obscurity amongst the boulders. She uttered a low cry and stood up. The face vanished, leaving her to gasp and shiver alone in the wilderness of stone heaps. But as soon as she had crouched down again to rest, with her head against the rock, the face returned, came very near, appeared eager to finish the speech that had been cut short by death, only a moment ago. She scrambled quickly to her feet and said: "Go away, or I will do it again." The thing wavered, swung to the right, to the left. She moved this way and that, stepped back, fancied herself screaming at it, and was appalled by the unbroken stillness of the night. She tottered on the brink, felt the steep declivity under her feet, and rushed down blindly to save herself from a headlong fall. The shingle seemed to wake up; the pebbles began to roll before her, pursued her from above, raced down with her on both sides, rolling past with an increasing clatter. In the peace of the night the noise grew, deepening to a rumour, continuous and violent, as if the whole semicircle of the stony beach had started to tumble down into the bay. Susan's feet hardly touched the slope that seemed to run down with her. At the bottom she stumbled, shot forward, throwing her arms out, and fell heavily. She jumped up at once and turned swiftly to look back, her clenched hands full of sand she had clutched in her fall. The face was there, keeping its distance, visible in its own sheen that made a pale stain in the night. She shouted, "Go away!"--she shouted at it with pain, with fear, with all the rage of that useless stab that could not keep him quiet, keep him out of her sight. What did he want now? He was dead. Dead men have no children. Would he never leave her alone? She shrieked at it--waved her outstretched hands. She seemed to feel the breath of parted lips, and, with a long cry of discouragement, fled across the level bottom of the bay.
She ran lightly, unaware of any effort of her body. High sharp rocks that, when the bay is full, show above the glittering plain of blue water like pointed towers of submerged churches, glided past her, rushing to the land at a tremendous pace. To the left, in the distance, she could see something shining: a broad disc of light in which narrow shadows pivoted round the centre like the spokes of a wheel. She heard a voice calling, "Hey! There!" and answered with a wild scream. So, he could call yet! He was calling after her to stop. Never! . . . She tore through the night, past the startled group of seaweed-gatherers who stood round their lantern paralysed with fear at the unearthly screech coming from that fleeing shadow. The men leaned on their pitchforks staring fearfully. A woman fell on her knees, and, crossing herself, began to pray aloud. A little girl with her ragged skirt full of slimy seaweed began to sob despairingly, lugging her soaked burden close to the man who carried the light. Somebody said: "The thing ran out towards the sea." Another voice exclaimed: "And the sea is coming back! Look at the spreading puddles. Do you hear--you woman--there! Get up!" Several voices cried together. "Yes, let us be off! Let the accursed thing go to the sea!" They moved on, keeping close round the light. Suddenly a man swore loudly. He would go and see what was the matter. It had been a woman's voice. He would go. There were shrill protests from women--but his high form detached itself from the group and went off running. They sent an unanimous call of scared voices after him. A word, insulting and mocking, came back, thrown at them through the darkness. A woman moaned. An old man said gravely: "Such things ought to be left alone." They went on slower, shuffling in the yielding sand and whispering to one another that Millot feared nothing, having no religion, but that it would end badly some day.
Susan met the incoming tide by the Raven islet and stopped, panting, with her feet in the water. She heard the murmur and felt the cold caress of the sea, and, calmer now, could see the sombre and confused mass of the Raven on one side and on the other the long white streak of Molene sands that are left high above the dry bottom of Fougere Bay at every ebb. She turned round and saw far away, along the starred background of the sky, the ragged outline of the coast. Above it, nearly facing her, appeared the tower of Ploumar Church; a slender and tall pyramid shooting up dark and pointed into the clustered glitter of the stars. She felt strangely calm. She knew where she was, and began to remember how she came there--and why. She peered into the smooth obscurity near her. She was alone. There was nothing there; nothing near her, either living or dead.
(continued)
She ran lightly, unaware of any effort of her body. High sharp rocks that, when the bay is full, show above the glittering plain of blue water like pointed towers of submerged churches, glided past her, rushing to the land at a tremendous pace. To the left, in the distance, she could see something shining: a broad disc of light in which narrow shadows pivoted round the centre like the spokes of a wheel. She heard a voice calling, "Hey! There!" and answered with a wild scream. So, he could call yet! He was calling after her to stop. Never! . . . She tore through the night, past the startled group of seaweed-gatherers who stood round their lantern paralysed with fear at the unearthly screech coming from that fleeing shadow. The men leaned on their pitchforks staring fearfully. A woman fell on her knees, and, crossing herself, began to pray aloud. A little girl with her ragged skirt full of slimy seaweed began to sob despairingly, lugging her soaked burden close to the man who carried the light. Somebody said: "The thing ran out towards the sea." Another voice exclaimed: "And the sea is coming back! Look at the spreading puddles. Do you hear--you woman--there! Get up!" Several voices cried together. "Yes, let us be off! Let the accursed thing go to the sea!" They moved on, keeping close round the light. Suddenly a man swore loudly. He would go and see what was the matter. It had been a woman's voice. He would go. There were shrill protests from women--but his high form detached itself from the group and went off running. They sent an unanimous call of scared voices after him. A word, insulting and mocking, came back, thrown at them through the darkness. A woman moaned. An old man said gravely: "Such things ought to be left alone." They went on slower, shuffling in the yielding sand and whispering to one another that Millot feared nothing, having no religion, but that it would end badly some day.
Susan met the incoming tide by the Raven islet and stopped, panting, with her feet in the water. She heard the murmur and felt the cold caress of the sea, and, calmer now, could see the sombre and confused mass of the Raven on one side and on the other the long white streak of Molene sands that are left high above the dry bottom of Fougere Bay at every ebb. She turned round and saw far away, along the starred background of the sky, the ragged outline of the coast. Above it, nearly facing her, appeared the tower of Ploumar Church; a slender and tall pyramid shooting up dark and pointed into the clustered glitter of the stars. She felt strangely calm. She knew where she was, and began to remember how she came there--and why. She peered into the smooth obscurity near her. She was alone. There was nothing there; nothing near her, either living or dead.
(continued)
The Idiots by Joseph Conrad (part6)
Susan pronounced some incomprehensible words, glaring at the table. The old woman clapped her hands above her head, let them drop, and stood looking at her daughter with disconsolate eyes. Her husband had been "deranged in his head" for a few years before he died, and now she began to suspect her daughter was going mad. She asked, pressingly--
"Does Jean know where you are? Where is Jean?"
"He knows . . . he is dead."
"What!" cried the old woman. She came up near, and peering at her daughter, repeated three times: "What do you say? What do you say? What do you say?"
Susan sat dry-eyed and stony before Madame Levaille, who contemplated her, feeling a strange sense of inexplicable horror creep into the silence of the house. She had hardly realised the news, further than to understand that she had been brought in one short moment face to face with something unexpected and final. It did not even occur to her to ask for any explanation. She thought: accident--terrible accident--blood to the head--fell down a trap door in the loft. . . . She remained there, distracted and mute, blinking her old eyes.
Suddenly, Susan said--
"I have killed him."
For a moment the mother stood still, almost unbreathing, but with composed face. The next second she burst out into a shout--
"You miserable madwoman . . . they will cut your neck. . . ."
She fancied the gendarmes entering the house, saying to her: "We want your daughter; give her up:" the gendarmes with the severe, hard faces of men on duty. She knew the brigadier well--an old friend, familiar and respectful, saying heartily, "To your good health, Madame!" before lifting to his lips the small glass of cognac--out of the special bottle she kept for friends. And now! . . . She was losing her head. She rushed here and there, as if looking for something urgently needed--gave that up, stood stock still in the middle of the room, and screamed at her daughter--
"Why? Say! Say! Why?"
The other seemed to leap out of her strange apathy.
"Do you think I am made of stone?" she shouted back, striding towards her mother.
"No! It's impossible. . . ." said Madame Levaille, in a convinced tone.
"You go and see, mother," retorted Susan, looking at her with blazing eyes. "There's no money in heaven--no justice. No! . . . I did not know. . . . Do you think I have no heart? Do you think I have never heard people jeering at me, pitying me, wondering at me? Do you know how some of them were calling me? The mother of idiots--that was my nickname! And my children never would know me, never speak to me. They would know nothing; neither men--nor God. Haven't I prayed! But the Mother of God herself would not hear me. A mother! . . . Who is accursed--I, or the man who is dead? Eh? Tell me. I took care of myself. Do you think I would defy the anger of God and have my house full of those things--that are worse than animals who know the hand that feeds them? Who blasphemed in the night at the very church door? Was it I? . . . I only wept and prayed for mercy . . . and I feel the curse at every moment of the day--I see it round me from morning to night . . . I've got to keep them alive--to take care of my misfortune and shame. And he would come. I begged him and Heaven for mercy. . . . No! . . . Then we shall see. . . . He came this evening. I thought to myself: 'Ah! again!' . . . I had my long scissors. I heard him shouting . . . I saw him near. . . . I must--must I? . . . Then take! . . . And I struck him in the throat above the breastbone. . . . I never heard him even sigh. . . . I left him standing. . . . It was a minute ago. How did I come here?"
Madame Levaille shivered. A wave of cold ran down her back, down her fat arms under her tight sleeves, made her stamp gently where she stood. Quivers ran over the broad cheeks, across the thin lips, ran amongst the wrinkles at the corners of her steady old eyes. She stammered--
"You wicked woman--you disgrace me. But there! You always resembled your father. What do you think will become of you . . . in the other world? In this . . . Oh misery!"
She was very hot now. She felt burning inside. She wrung her perspiring hands--and suddenly, starting in great haste, began to look for her big shawl and umbrella, feverishly, never once glancing at her daughter, who stood in the middle of the room following her with a gaze distracted and cold.
"Nothing worse than in this," said Susan.
Her mother, umbrella in hand and trailing the shawl over the floor, groaned profoundly.
"I must go to the priest," she burst out passionately. "I do not know whether you even speak the truth! You are a horrible woman. They will find you anywhere. You may stay here--or go. There is no room for you in this world."
Ready now to depart, she yet wandered aimlessly about the room, putting the bottles on the shelf, trying to fit with trembling hands the covers on cardboard boxes. Whenever the real sense of what she had heard emerged for a second from the haze of her thoughts she would fancy that something had exploded in her brain without, unfortunately, bursting her head to pieces--which would have been a relief. She blew the candles out one by one without knowing it, and was horribly startled by the darkness. She fell on a bench and began to whimper. After a while she ceased, and sat listening to the breathing of her daughter, whom she could hardly see, still and upright, giving no other sign of life. She was becoming old rapidly at last, during those minutes. She spoke in tones unsteady, cut about by the rattle of teeth, like one shaken by a deadly cold fit of ague.
"I wish you had died little. I will never dare to show my old head in the sunshine again. There are worse misfortunes than idiot children. I wish you had been born to me simple--like your own. . . ."
She saw the figure of her daughter pass before the faint and livid clearness of a window. Then it appeared in the doorway for a second, and the door swung to with a clang. Madame Levaille, as if awakened by the noise from a long nightmare, rushed out.
"Susan!" she shouted from the doorstep.
She heard a stone roll a long time down the declivity of the rocky beach above the sands. She stepped forward cautiously, one hand on the wall of the house, and peered down into the smooth darkness of the empty bay. Once again she cried--
"Susan! You will kill yourself there."
The stone had taken its last leap in the dark, and she heard nothing now. A sudden thought seemed to strangle her, and she called no more. She turned her back upon the black silence of the pit and went up the lane towards Ploumar, stumbling along with sombre determination, as if she had started on a desperate journey that would last, perhaps, to the end of her life. A sullen and periodic clamour of waves rolling over reefs followed her far inland between the high hedges sheltering the gloomy solitude of the fields.
(continued)....
"Does Jean know where you are? Where is Jean?"
"He knows . . . he is dead."
"What!" cried the old woman. She came up near, and peering at her daughter, repeated three times: "What do you say? What do you say? What do you say?"
Susan sat dry-eyed and stony before Madame Levaille, who contemplated her, feeling a strange sense of inexplicable horror creep into the silence of the house. She had hardly realised the news, further than to understand that she had been brought in one short moment face to face with something unexpected and final. It did not even occur to her to ask for any explanation. She thought: accident--terrible accident--blood to the head--fell down a trap door in the loft. . . . She remained there, distracted and mute, blinking her old eyes.
Suddenly, Susan said--
"I have killed him."
For a moment the mother stood still, almost unbreathing, but with composed face. The next second she burst out into a shout--
"You miserable madwoman . . . they will cut your neck. . . ."
She fancied the gendarmes entering the house, saying to her: "We want your daughter; give her up:" the gendarmes with the severe, hard faces of men on duty. She knew the brigadier well--an old friend, familiar and respectful, saying heartily, "To your good health, Madame!" before lifting to his lips the small glass of cognac--out of the special bottle she kept for friends. And now! . . . She was losing her head. She rushed here and there, as if looking for something urgently needed--gave that up, stood stock still in the middle of the room, and screamed at her daughter--
"Why? Say! Say! Why?"
The other seemed to leap out of her strange apathy.
"Do you think I am made of stone?" she shouted back, striding towards her mother.
"No! It's impossible. . . ." said Madame Levaille, in a convinced tone.
"You go and see, mother," retorted Susan, looking at her with blazing eyes. "There's no money in heaven--no justice. No! . . . I did not know. . . . Do you think I have no heart? Do you think I have never heard people jeering at me, pitying me, wondering at me? Do you know how some of them were calling me? The mother of idiots--that was my nickname! And my children never would know me, never speak to me. They would know nothing; neither men--nor God. Haven't I prayed! But the Mother of God herself would not hear me. A mother! . . . Who is accursed--I, or the man who is dead? Eh? Tell me. I took care of myself. Do you think I would defy the anger of God and have my house full of those things--that are worse than animals who know the hand that feeds them? Who blasphemed in the night at the very church door? Was it I? . . . I only wept and prayed for mercy . . . and I feel the curse at every moment of the day--I see it round me from morning to night . . . I've got to keep them alive--to take care of my misfortune and shame. And he would come. I begged him and Heaven for mercy. . . . No! . . . Then we shall see. . . . He came this evening. I thought to myself: 'Ah! again!' . . . I had my long scissors. I heard him shouting . . . I saw him near. . . . I must--must I? . . . Then take! . . . And I struck him in the throat above the breastbone. . . . I never heard him even sigh. . . . I left him standing. . . . It was a minute ago. How did I come here?"
Madame Levaille shivered. A wave of cold ran down her back, down her fat arms under her tight sleeves, made her stamp gently where she stood. Quivers ran over the broad cheeks, across the thin lips, ran amongst the wrinkles at the corners of her steady old eyes. She stammered--
"You wicked woman--you disgrace me. But there! You always resembled your father. What do you think will become of you . . . in the other world? In this . . . Oh misery!"
She was very hot now. She felt burning inside. She wrung her perspiring hands--and suddenly, starting in great haste, began to look for her big shawl and umbrella, feverishly, never once glancing at her daughter, who stood in the middle of the room following her with a gaze distracted and cold.
"Nothing worse than in this," said Susan.
Her mother, umbrella in hand and trailing the shawl over the floor, groaned profoundly.
"I must go to the priest," she burst out passionately. "I do not know whether you even speak the truth! You are a horrible woman. They will find you anywhere. You may stay here--or go. There is no room for you in this world."
Ready now to depart, she yet wandered aimlessly about the room, putting the bottles on the shelf, trying to fit with trembling hands the covers on cardboard boxes. Whenever the real sense of what she had heard emerged for a second from the haze of her thoughts she would fancy that something had exploded in her brain without, unfortunately, bursting her head to pieces--which would have been a relief. She blew the candles out one by one without knowing it, and was horribly startled by the darkness. She fell on a bench and began to whimper. After a while she ceased, and sat listening to the breathing of her daughter, whom she could hardly see, still and upright, giving no other sign of life. She was becoming old rapidly at last, during those minutes. She spoke in tones unsteady, cut about by the rattle of teeth, like one shaken by a deadly cold fit of ague.
"I wish you had died little. I will never dare to show my old head in the sunshine again. There are worse misfortunes than idiot children. I wish you had been born to me simple--like your own. . . ."
She saw the figure of her daughter pass before the faint and livid clearness of a window. Then it appeared in the doorway for a second, and the door swung to with a clang. Madame Levaille, as if awakened by the noise from a long nightmare, rushed out.
"Susan!" she shouted from the doorstep.
She heard a stone roll a long time down the declivity of the rocky beach above the sands. She stepped forward cautiously, one hand on the wall of the house, and peered down into the smooth darkness of the empty bay. Once again she cried--
"Susan! You will kill yourself there."
The stone had taken its last leap in the dark, and she heard nothing now. A sudden thought seemed to strangle her, and she called no more. She turned her back upon the black silence of the pit and went up the lane towards Ploumar, stumbling along with sombre determination, as if she had started on a desperate journey that would last, perhaps, to the end of her life. A sullen and periodic clamour of waves rolling over reefs followed her far inland between the high hedges sheltering the gloomy solitude of the fields.
(continued)....
The Idiots by Joseph Conrad (part5)
That day Madame Levaille had gone early in the afternoon to the house she had near Kervanion. She had to pay some of the men who worked in her granite quarry there, and she went in good time because her little house contained a shop where the workmen could spend their wages without the trouble of going to town. The house stood alone amongst rocks. A lane of mud and stones ended at the door. The sea-winds coming ashore on Stonecutter's point, fresh from the fierce turmoil of the waves, howled violently at the unmoved heaps of black boulders holding up steadily short-armed, high crosses against the tremendous rush of the invisible. In the sweep of gales the sheltered dwelling stood in a calm resonant and disquieting, like the calm in the centre of a hurricane. On stormy nights, when the tide was out, the bay of Fougere, fifty feet below the house, resembled an immense black pit, from which ascended mutterings and sighs as if the sands down there had been alive and complaining. At high tide the returning water assaulted the ledges of rock in short rushes, ending in bursts of livid light and columns of spray, that flew inland, stinging to death the grass of pastures.
The darkness came from the hills, flowed over the coast, put out the red fires of sunset, and went on to seaward pursuing the retiring tide. The wind dropped with the sun, leaving a maddened sea and a devastated sky. The heavens above the house seemed to be draped in black rags, held up here and there by pins of fire. Madame Levaille, for this evening the servant of her own workmen, tried to induce them to depart. "An old woman like me ought to be in bed at this late hour," she good-humouredly repeated. The quarrymen drank, asked for more. They shouted over the table as if they had been talking across a field. At one end four of them played cards, banging the wood with their hard knuckles, and swearing at every lead. One sat with a lost gaze, humming a bar of some song, which he repeated endlessly. Two others, in a corner, were quarrelling confidentially and fiercely over some woman, looking close into one another's eyes as if they had wanted to tear them out, but speaking in whispers that promised violence and murder discreetly, in a venomous sibillation of subdued words. The atmosphere in there was thick enough to slice with a knife. Three candles burning about the long room glowed red and dull like sparks expiring in ashes.
The slight click of the iron latch was at that late hour as unexpected and startling as a thunder-clap. Madame Levaille put down a bottle she held above a liqueur glass; the players turned their heads; the whispered quarrel ceased; only the singer, after darting a glance at the door, went on humming with a stolid face. Susan appeared in the doorway, stepped in, flung the door to, and put her back against it, saying, half aloud--
"Mother!"
Madame Levaille, taking up the bottle again, said calmly: "Here you are, my girl. What a state you are in!" The neck of the bottle rang on the rim of the glass, for the old woman was startled, and the idea that the farm had caught fire had entered her head. She could think of no other cause for her daughter's appearance.
Susan, soaked and muddy, stared the whole length of the room towards the men at the far end. Her mother asked--
"What has happened? God guard us from misfortune!"
Susan moved her lips. No sound came. Madame Levaille stepped up to her daughter, took her by the arm, looked into her face.
"In God's name," she said, shakily, "what's the matter? You have been rolling in mud. . . . Why did you come? . . . Where's Jean?"
The men had all got up and approached slowly, staring with dull surprise. Madame Levaille jerked her daughter away from the door, swung her round upon a seat close to the wall. Then she turned fiercely to the men--
"Enough of this! Out you go--you others! I close."
One of them observed, looking down at Susan collapsed on the seat: "She is--one may say--half dead."
Madame Levaille flung the door open.
"Get out! March!" she cried, shaking nervously.
They dropped out into the night, laughing stupidly. Outside, the two Lotharios broke out into loud shouts. The others tried to soothe them, all talking at once. The noise went away up the lane with the men, who staggered together in a tight knot, remonstrating with one another foolishly.
"Speak, Susan. What is it? Speak!" entreated Madame Levaille, as soon as the door was shut.
(continued).......
The darkness came from the hills, flowed over the coast, put out the red fires of sunset, and went on to seaward pursuing the retiring tide. The wind dropped with the sun, leaving a maddened sea and a devastated sky. The heavens above the house seemed to be draped in black rags, held up here and there by pins of fire. Madame Levaille, for this evening the servant of her own workmen, tried to induce them to depart. "An old woman like me ought to be in bed at this late hour," she good-humouredly repeated. The quarrymen drank, asked for more. They shouted over the table as if they had been talking across a field. At one end four of them played cards, banging the wood with their hard knuckles, and swearing at every lead. One sat with a lost gaze, humming a bar of some song, which he repeated endlessly. Two others, in a corner, were quarrelling confidentially and fiercely over some woman, looking close into one another's eyes as if they had wanted to tear them out, but speaking in whispers that promised violence and murder discreetly, in a venomous sibillation of subdued words. The atmosphere in there was thick enough to slice with a knife. Three candles burning about the long room glowed red and dull like sparks expiring in ashes.
The slight click of the iron latch was at that late hour as unexpected and startling as a thunder-clap. Madame Levaille put down a bottle she held above a liqueur glass; the players turned their heads; the whispered quarrel ceased; only the singer, after darting a glance at the door, went on humming with a stolid face. Susan appeared in the doorway, stepped in, flung the door to, and put her back against it, saying, half aloud--
"Mother!"
Madame Levaille, taking up the bottle again, said calmly: "Here you are, my girl. What a state you are in!" The neck of the bottle rang on the rim of the glass, for the old woman was startled, and the idea that the farm had caught fire had entered her head. She could think of no other cause for her daughter's appearance.
Susan, soaked and muddy, stared the whole length of the room towards the men at the far end. Her mother asked--
"What has happened? God guard us from misfortune!"
Susan moved her lips. No sound came. Madame Levaille stepped up to her daughter, took her by the arm, looked into her face.
"In God's name," she said, shakily, "what's the matter? You have been rolling in mud. . . . Why did you come? . . . Where's Jean?"
The men had all got up and approached slowly, staring with dull surprise. Madame Levaille jerked her daughter away from the door, swung her round upon a seat close to the wall. Then she turned fiercely to the men--
"Enough of this! Out you go--you others! I close."
One of them observed, looking down at Susan collapsed on the seat: "She is--one may say--half dead."
Madame Levaille flung the door open.
"Get out! March!" she cried, shaking nervously.
They dropped out into the night, laughing stupidly. Outside, the two Lotharios broke out into loud shouts. The others tried to soothe them, all talking at once. The noise went away up the lane with the men, who staggered together in a tight knot, remonstrating with one another foolishly.
"Speak, Susan. What is it? Speak!" entreated Madame Levaille, as soon as the door was shut.
(continued).......
The Idiots by Joseph Conrad (part4)
Then on market days Jean-Pierre was seen bargaining bitterly, quarrelsome and greedy; then getting drunk with taciturn earnestness; then driving home in the dusk at a rate fit for a wedding, but with a face gloomy enough for a funeral. Sometimes he would insist on his wife coming with him; and they would drive in the early morning, shaking side by side on the narrow seat above the helpless pig, that, with tied legs, grunted a melancholy sigh at every rut. The morning drives were silent; but in the evening, coming home, Jean-Pierre, tipsy, was viciously muttering, and growled at the confounded woman who could not rear children that were like anybody else's. Susan, holding on against the erratic swayings of the cart, pretended not to hear. Once, as they were driving through Ploumar, some obscure and drunken impulse caused him to pull up sharply opposite the church. The moon swam amongst light white clouds. The tombstones gleamed pale under the fretted shadows of the trees in the churchyard. Even the village dogs slept. Only the nightingales, awake, spun out the thrill of their song above the silence of graves. Jean-Pierre said thickly to his wife--
"What do you think is there?"
He pointed his whip at the tower--in which the big dial of the clock appeared high in the moonlight like a pallid face without eyes--and getting out carefully, fell down at once by the wheel. He picked himself up and climbed one by one the few steps to the iron gate of the churchyard. He put his face to the bars and called out indistinctly--
"Hey there! Come out!"
"Jean! Return! Return!" entreated his wife in low tones.
He took no notice, and seemed to wait there. The song of nightingales beat on all sides against the high walls of the church, and flowed back between stone crosses and flat gray slabs, engraved with words of hope and sorrow.
"Hey! Come out!" shouted Jean-Pierre, loudly.
The nightingales ceased to sing.
"Nobody?" went on Jean-Pierre. "Nobody there. A swindle of the crows. That's what this is. Nobody anywhere. I despise it. Allez! Houp!"
He shook the gate with all his strength, and the iron bars rattled with a frightful clanging, like a chain dragged over stone steps. A dog near by barked hurriedly. Jean-Pierre staggered back, and after three successive dashes got into his cart. Susan sat very quiet and still. He said to her with drunken severity--
"See? Nobody. I've been made a fool! Malheur! Somebody will pay for it. The next one I see near the house I will lay my whip on . . . on the black spine . . . I will. I don't want him in there . . . he only helps the carrion crows to rob poor folk. I am a man. . . . We will see if I can't have children like anybody else . . . now you mind. . . . They won't be all . . . all . . . we see. . . ."
She burst out through the fingers that hid her face--
"Don't say that, Jean; don't say that, my man!"
He struck her a swinging blow on the head with the back of his hand and knocked her into the bottom of the cart, where she crouched, thrown about lamentably by every jolt. He drove furiously, standing up, brandishing his whip, shaking the reins over the gray horse that galloped ponderously, making the heavy harness leap upon his broad quarters. The country rang clamorous in the night with the irritated barking of farm dogs, that followed the rattle of wheels all along the road. A couple of belated wayfarers had only just time to step into the ditch. At his own gate he caught the post and was shot out of the cart head first. The horse went on slowly to the door. At Susan's piercing cries the farm hands rushed out. She thought him dead, but he was only sleeping where he fell, and cursed his men, who hastened to him, for disturbing his slumbers.
Autumn came. The clouded sky descended low upon the black contours of the hills; and the dead leaves danced in spiral whirls under naked trees, till the wind, sighing profoundly, laid them to rest in the hollows of bare valleys. And from morning till night one could see all over the land black denuded boughs, the boughs gnarled and twisted, as if contorted with pain, swaying sadly between the wet clouds and the soaked earth. The clear and gentle streams of summer days rushed discoloured and raging at the stones that barred the way to the sea, with the fury of madness bent upon suicide. From horizon to horizon the great road to the sands lay between the hills in a dull glitter of empty curves, resembling an unnavigable river of mud.
Jean-Pierre went from field to field, moving blurred and tall in the drizzle, or striding on the crests of rises, lonely and high upon the gray curtain of drifting clouds, as if he had been pacing along the very edge of the universe. He looked at the black earth, at the earth mute and promising, at the mysterious earth doing its work of life in death-like stillness under the veiled sorrow of the sky. And it seemed to him that to a man worse than childless there was no promise in the fertility of fields, that from him the earth escaped, defied him, frowned at him like the clouds, sombre and hurried above his head. Having to face alone his own fields, he felt the inferiority of man who passes away before the clod that remains. Must he give up the hope of having by his side a son who would look at the turned-up sods with a master's eye? A man that would think as he thought, that would feel as he felt; a man who would be part of himself, and yet remain to trample masterfully on that earth when he was gone? He thought of some distant relations, and felt savage enough to curse them aloud. They! Never! He turned homewards, going straight at the roof of his dwelling, visible between the enlaced skeletons of trees. As he swung his legs over the stile a cawing flock of birds settled slowly on the field; dropped down behind his back, noiseless and fluttering, like flakes of soot.
(continued)....
"What do you think is there?"
He pointed his whip at the tower--in which the big dial of the clock appeared high in the moonlight like a pallid face without eyes--and getting out carefully, fell down at once by the wheel. He picked himself up and climbed one by one the few steps to the iron gate of the churchyard. He put his face to the bars and called out indistinctly--
"Hey there! Come out!"
"Jean! Return! Return!" entreated his wife in low tones.
He took no notice, and seemed to wait there. The song of nightingales beat on all sides against the high walls of the church, and flowed back between stone crosses and flat gray slabs, engraved with words of hope and sorrow.
"Hey! Come out!" shouted Jean-Pierre, loudly.
The nightingales ceased to sing.
"Nobody?" went on Jean-Pierre. "Nobody there. A swindle of the crows. That's what this is. Nobody anywhere. I despise it. Allez! Houp!"
He shook the gate with all his strength, and the iron bars rattled with a frightful clanging, like a chain dragged over stone steps. A dog near by barked hurriedly. Jean-Pierre staggered back, and after three successive dashes got into his cart. Susan sat very quiet and still. He said to her with drunken severity--
"See? Nobody. I've been made a fool! Malheur! Somebody will pay for it. The next one I see near the house I will lay my whip on . . . on the black spine . . . I will. I don't want him in there . . . he only helps the carrion crows to rob poor folk. I am a man. . . . We will see if I can't have children like anybody else . . . now you mind. . . . They won't be all . . . all . . . we see. . . ."
She burst out through the fingers that hid her face--
"Don't say that, Jean; don't say that, my man!"
He struck her a swinging blow on the head with the back of his hand and knocked her into the bottom of the cart, where she crouched, thrown about lamentably by every jolt. He drove furiously, standing up, brandishing his whip, shaking the reins over the gray horse that galloped ponderously, making the heavy harness leap upon his broad quarters. The country rang clamorous in the night with the irritated barking of farm dogs, that followed the rattle of wheels all along the road. A couple of belated wayfarers had only just time to step into the ditch. At his own gate he caught the post and was shot out of the cart head first. The horse went on slowly to the door. At Susan's piercing cries the farm hands rushed out. She thought him dead, but he was only sleeping where he fell, and cursed his men, who hastened to him, for disturbing his slumbers.
Autumn came. The clouded sky descended low upon the black contours of the hills; and the dead leaves danced in spiral whirls under naked trees, till the wind, sighing profoundly, laid them to rest in the hollows of bare valleys. And from morning till night one could see all over the land black denuded boughs, the boughs gnarled and twisted, as if contorted with pain, swaying sadly between the wet clouds and the soaked earth. The clear and gentle streams of summer days rushed discoloured and raging at the stones that barred the way to the sea, with the fury of madness bent upon suicide. From horizon to horizon the great road to the sands lay between the hills in a dull glitter of empty curves, resembling an unnavigable river of mud.
Jean-Pierre went from field to field, moving blurred and tall in the drizzle, or striding on the crests of rises, lonely and high upon the gray curtain of drifting clouds, as if he had been pacing along the very edge of the universe. He looked at the black earth, at the earth mute and promising, at the mysterious earth doing its work of life in death-like stillness under the veiled sorrow of the sky. And it seemed to him that to a man worse than childless there was no promise in the fertility of fields, that from him the earth escaped, defied him, frowned at him like the clouds, sombre and hurried above his head. Having to face alone his own fields, he felt the inferiority of man who passes away before the clod that remains. Must he give up the hope of having by his side a son who would look at the turned-up sods with a master's eye? A man that would think as he thought, that would feel as he felt; a man who would be part of himself, and yet remain to trample masterfully on that earth when he was gone? He thought of some distant relations, and felt savage enough to curse them aloud. They! Never! He turned homewards, going straight at the roof of his dwelling, visible between the enlaced skeletons of trees. As he swung his legs over the stile a cawing flock of birds settled slowly on the field; dropped down behind his back, noiseless and fluttering, like flakes of soot.
(continued)....
The Idiots by Joseph Conrad (part3)
The mother watched with other eyes; listened with otherwise expectant ears. Under the high hanging shelves supporting great sides of bacon overhead, her body was busy by the great fireplace, attentive to the pot swinging on iron gallows, scrubbing the long table where the field hands would sit down directly to their evening meal. Her mind remained by the cradle, night and day on the watch, to hope and suffer. That child, like the other two, never smiled, never stretched its hands to her, never spoke; never had a glance of recognition for her in its big black eyes, which could only stare fixedly at any glitter, but failed hopelessly to follow the brilliance of a sun-ray slipping slowly along the floor. When the men were at work she spent long days between her three idiot children and the childish grandfather, who sat grim, angular, and immovable, with his feet near the warm ashes of the fire. The feeble old fellow seemed to suspect that there was something wrong with his grandsons. Only once, moved either by affection or by the sense of proprieties, he attempted to nurse the youngest. He took the boy up from the floor, clicked his tongue at him, and essayed a shaky gallop of his bony knees. Then he looked closely with his misty eyes at the child's face and deposited him down gently on the floor again. And he sat, his lean shanks crossed, nodding at the steam escaping from the cooking-pot with a gaze senile and worried.
Then mute affliction dwelt in Bacadou's farmhouse, sharing the breath and the bread of its inhabitants; and the priest of the Ploumar parish had great cause for congratulation. He called upon the rich landowner, the Marquis de Chavanes, on purpose to deliver himself with joyful unction of solemn platitudes about the inscrutable ways of Providence. In the vast dimness of the curtained drawing-room, the little man, resembling a black bolster, leaned towards a couch, his hat on his knees, and gesticulated with a fat hand at the elongated, gracefully-flowing lines of the clear Parisian toilette from which the half-amused, half-bored marquise listened with gracious languor. He was exulting and humble, proud and awed. The impossible had come to pass. Jean-Pierre Bacadou, the enraged republican farmer, had been to mass last Sunday--had proposed to entertain the visiting priests at the next festival of Ploumar! It was a triumph for the Church and for the good cause. "I thought I would come at once to tell Monsieur le Marquis. I know how anxious he is for the welfare of our country," declared the priest, wiping his face. He was asked to stay to dinner.
The Chavanes returning that evening, after seeing their guest to the main gate of the park, discussed the matter while they strolled in the moonlight, trailing their long shadows up the straight avenue of chestnuts. The marquise, a royalist of course, had been mayor of the commune which includes Ploumar, the scattered hamlets of the coast, and the stony islands that fringe the yellow flatness of the sands. He had felt his position insecure, for there was a strong republican element in that part of the country; but now the conversion of Jean-Pierre made him safe. He was very pleased. "You have no idea how influential those people are," he explained to his wife. "Now, I am sure, the next communal election will go all right. I shall be re- elected." "Your ambition is perfectly insatiable, Charles," exclaimed the marquise, gaily. "But, ma chere amie," argued the husband, seriously, "it's most important that the right man should be mayor this year, because of the elections to the Chamber. If you think it amuses me . . ."
Jean-Pierre had surrendered to his wife's mother. Madame Levaille was a woman of business, known and respected within a radius of at least fifteen miles. Thick-set and stout, she was seen about the country, on foot or in an acquaintance's cart, perpetually moving, in spite of her fifty-eight years, in steady pursuit of business. She had houses in all the hamlets, she worked quarries of granite, she freighted coasters with stone--even traded with the Channel Islands. She was broad-cheeked, wide-eyed, persuasive in speech: carrying her point with the placid and invincible obstinacy of an old woman who knows her own mind. She very seldom slept for two nights together in the same house; and the wayside inns were the best places to inquire in as to her whereabouts. She had either passed, or was expected to pass there at six; or somebody, coming in, had seen her in the morning, or expected to meet her that evening. After the inns that command the roads, the churches were the buildings she frequented most. Men of liberal opinions would induce small children to run into sacred edifices to see whether Madame Levaille was there, and to tell her that so-and-so was in the road waiting to speak to her about potatoes, or flour, or stones, or houses; and she would curtail her devotions, come out blinking and crossing herself into the sunshine; ready to discuss business matters in a calm, sensible way across a table in the kitchen of the inn opposite. Latterly she had stayed for a few days several times with her son-in-law, arguing against sorrow and misfortune with composed face and gentle tones. Jean-Pierre felt the convictions imbibed in the regiment torn out of his breast--not by arguments but by facts. Striding over his fields he thought it over. There were three of them. Three! All alike! Why? Such things did not happen to everybody--to nobody he ever heard of. One--might pass. But three! All three. Forever useless, to be fed while he lived and . . . What would become of the land when he died? This must be seen to. He would sacrifice his convictions. One day he told his wife--
"See what your God will do for us. Pay for some masses."
Susan embraced her man. He stood unbending, then turned on his heels and went out. But afterwards, when a black soutane darkened his doorway, he did not object; even offered some cider himself to the priest. He listened to the talk meekly; went to mass between the two women; accomplished what the priest called "his religious duties" at Easter. That morning he felt like a man who had sold his soul. In the afternoon he fought ferociously with an old friend and neighbour who had remarked that the priests had the best of it and were now going to eat the priest-eater. He came home dishevelled and bleeding, and happening to catch sight of his children (they were kept generally out of the way), cursed and swore incoherently, banging the table. Susan wept. Madame Levaille sat serenely unmoved. She assured her daughter that "It will pass;" and taking up her thick umbrella, departed in haste to see after a schooner she was going to load with granite from her quarry.
A year or so afterwards the girl was born. A girl. Jean-Pierre heard of it in the fields, and was so upset by the news that he sat down on the boundary wall and remained there till the evening, instead of going home as he was urged to do. A girl! He felt half cheated. However, when he got home he was partly reconciled to his fate. One could marry her to a good fellow--not to a good for nothing, but to a fellow with some understanding and a good pair of arms. Besides, the next may be a boy, he thought. Of course they would be all right. His new credulity knew of no doubt. The ill luck was broken. He spoke cheerily to his wife. She was also hopeful. Three priests came to that christening, and Madame Levaille was godmother. The child turned out an idiot too.(continued)
Then mute affliction dwelt in Bacadou's farmhouse, sharing the breath and the bread of its inhabitants; and the priest of the Ploumar parish had great cause for congratulation. He called upon the rich landowner, the Marquis de Chavanes, on purpose to deliver himself with joyful unction of solemn platitudes about the inscrutable ways of Providence. In the vast dimness of the curtained drawing-room, the little man, resembling a black bolster, leaned towards a couch, his hat on his knees, and gesticulated with a fat hand at the elongated, gracefully-flowing lines of the clear Parisian toilette from which the half-amused, half-bored marquise listened with gracious languor. He was exulting and humble, proud and awed. The impossible had come to pass. Jean-Pierre Bacadou, the enraged republican farmer, had been to mass last Sunday--had proposed to entertain the visiting priests at the next festival of Ploumar! It was a triumph for the Church and for the good cause. "I thought I would come at once to tell Monsieur le Marquis. I know how anxious he is for the welfare of our country," declared the priest, wiping his face. He was asked to stay to dinner.
The Chavanes returning that evening, after seeing their guest to the main gate of the park, discussed the matter while they strolled in the moonlight, trailing their long shadows up the straight avenue of chestnuts. The marquise, a royalist of course, had been mayor of the commune which includes Ploumar, the scattered hamlets of the coast, and the stony islands that fringe the yellow flatness of the sands. He had felt his position insecure, for there was a strong republican element in that part of the country; but now the conversion of Jean-Pierre made him safe. He was very pleased. "You have no idea how influential those people are," he explained to his wife. "Now, I am sure, the next communal election will go all right. I shall be re- elected." "Your ambition is perfectly insatiable, Charles," exclaimed the marquise, gaily. "But, ma chere amie," argued the husband, seriously, "it's most important that the right man should be mayor this year, because of the elections to the Chamber. If you think it amuses me . . ."
Jean-Pierre had surrendered to his wife's mother. Madame Levaille was a woman of business, known and respected within a radius of at least fifteen miles. Thick-set and stout, she was seen about the country, on foot or in an acquaintance's cart, perpetually moving, in spite of her fifty-eight years, in steady pursuit of business. She had houses in all the hamlets, she worked quarries of granite, she freighted coasters with stone--even traded with the Channel Islands. She was broad-cheeked, wide-eyed, persuasive in speech: carrying her point with the placid and invincible obstinacy of an old woman who knows her own mind. She very seldom slept for two nights together in the same house; and the wayside inns were the best places to inquire in as to her whereabouts. She had either passed, or was expected to pass there at six; or somebody, coming in, had seen her in the morning, or expected to meet her that evening. After the inns that command the roads, the churches were the buildings she frequented most. Men of liberal opinions would induce small children to run into sacred edifices to see whether Madame Levaille was there, and to tell her that so-and-so was in the road waiting to speak to her about potatoes, or flour, or stones, or houses; and she would curtail her devotions, come out blinking and crossing herself into the sunshine; ready to discuss business matters in a calm, sensible way across a table in the kitchen of the inn opposite. Latterly she had stayed for a few days several times with her son-in-law, arguing against sorrow and misfortune with composed face and gentle tones. Jean-Pierre felt the convictions imbibed in the regiment torn out of his breast--not by arguments but by facts. Striding over his fields he thought it over. There were three of them. Three! All alike! Why? Such things did not happen to everybody--to nobody he ever heard of. One--might pass. But three! All three. Forever useless, to be fed while he lived and . . . What would become of the land when he died? This must be seen to. He would sacrifice his convictions. One day he told his wife--
"See what your God will do for us. Pay for some masses."
Susan embraced her man. He stood unbending, then turned on his heels and went out. But afterwards, when a black soutane darkened his doorway, he did not object; even offered some cider himself to the priest. He listened to the talk meekly; went to mass between the two women; accomplished what the priest called "his religious duties" at Easter. That morning he felt like a man who had sold his soul. In the afternoon he fought ferociously with an old friend and neighbour who had remarked that the priests had the best of it and were now going to eat the priest-eater. He came home dishevelled and bleeding, and happening to catch sight of his children (they were kept generally out of the way), cursed and swore incoherently, banging the table. Susan wept. Madame Levaille sat serenely unmoved. She assured her daughter that "It will pass;" and taking up her thick umbrella, departed in haste to see after a schooner she was going to load with granite from her quarry.
A year or so afterwards the girl was born. A girl. Jean-Pierre heard of it in the fields, and was so upset by the news that he sat down on the boundary wall and remained there till the evening, instead of going home as he was urged to do. A girl! He felt half cheated. However, when he got home he was partly reconciled to his fate. One could marry her to a good fellow--not to a good for nothing, but to a fellow with some understanding and a good pair of arms. Besides, the next may be a boy, he thought. Of course they would be all right. His new credulity knew of no doubt. The ill luck was broken. He spoke cheerily to his wife. She was also hopeful. Three priests came to that christening, and Madame Levaille was godmother. The child turned out an idiot too.(continued)
The Idiots by Joseph Conrad (part2)
The mother was pleased with her daughter-in-law. Jean-Pierre brought the two-wheeled spring-cart with a rush into the yard. The gray horse galloped clumsily, and the bride and bridegroom, sitting side by side, were jerked backwards and forwards by the up and down motion of the shafts, in a manner regular and brusque. On the road the distanced wedding guests straggled in pairs and groups. The men advanced with heavy steps, swinging their idle arms. They were clad in town clothes; jackets cut with clumsy smartness, hard black hats, immense boots, polished highly. Their women all in simple black, with white caps and shawls of faded tints folded triangularly on the back, strolled lightly by their side. In front the violin sang a strident tune, and the biniou snored and hummed, while the player capered solemnly, lifting high his heavy clogs. The sombre procession drifted in and out of the narrow lanes, through sunshine and through shade, between fields and hedgerows, scaring the little birds that darted away in troops right and left. In the yard of Bacadou's farm the dark ribbon wound itself up into a mass of men and women pushing at the door with cries and greetings. The wedding dinner was remembered for months. It was a splendid feast in the orchard. Farmers of considerable means and excellent repute were to be found sleeping in ditches, all along the road to Treguier, even as late as the afternoon of the next day. All the countryside participated in the happiness of Jean-Pierre. He remained sober, and, together with his quiet wife, kept out of the way, letting father and mother reap their due of honour and thanks. But the next day he took hold strongly, and the old folks felt a shadow--precursor of the grave--fall upon them finally. The world is to the young.
When the twins were born there was plenty of room in the house, for the mother of Jean-Pierre had gone away to dwell under a heavy stone in the cemetery of Ploumar. On that day, for the first time since his son's marriage, the elder Bacadou, neglected by the cackling lot of strange women who thronged the kitchen, left in the morning his seat under the mantel of the fireplace, and went into the empty cow-house, shaking his white locks dismally. Grandsons were all very well, but he wanted his soup at midday. When shown the babies, he stared at them with a fixed gaze, and muttered something like: "It's too much." Whether he meant too much happiness, or simply commented upon the number of his descendants, it is impossible to say. He looked offended --as far as his old wooden face could express anything; and for days afterwards could be seen, almost any time of the day, sitting at the gate, with his nose over his knees, a pipe between his gums, and gathered up into a kind of raging concentrated sulkiness. Once he spoke to his son, alluding to the newcomers with a groan: "They will quarrel over the land." "Don't bother about that, father," answered Jean-Pierre, stolidly, and passed, bent double, towing a recalcitrant cow over his shoulder.
He was happy, and so was Susan, his wife. It was not an ethereal joy welcoming new souls to struggle, perchance to victory. In fourteen years both boys would be a help; and, later on, Jean-Pierre pictured two big sons striding over the land from patch to patch, wringing tribute from the earth beloved and fruitful. Susan was happy too, for she did not want to be spoken of as the unfortunate woman, and now she had children no one could call her that. Both herself and her husband had seen something of the larger world--he during the time of his service; while she had spent a year or so in Paris with a Breton family; but had been too home-sick to remain longer away from the hilly and green country, set in a barren circle of rocks and sands, where she had been born. She thought that one of the boys ought perhaps to be a priest, but said nothing to her husband, who was a republican, and hated the "crows," as he called the ministers of religion. The christening was a splendid affair. All the commune came to it, for the Bacadous were rich and influential, and, now and then, did not mind the expense. The grandfather had a new coat.
Some months afterwards, one evening when the kitchen had been swept, and the door locked, Jean-Pierre, looking at the cot, asked his wife: "What's the matter with those children?" And, as if these words, spoken calmly, had been the portent of misfortune, she answered with a loud wail that must have been heard across the yard in the pig-sty; for the pigs (the Bacadous had the finest pigs in the country) stirred and grunted complainingly in the night. The husband went on grinding his bread and butter slowly, gazing at the wall, the soup-plate smoking under his chin. He had returned late from the market, where he had overheard (not for the first time) whispers behind his back. He revolved the words in his mind as he drove back. "Simple! Both of them. . . . Never any use! . . . Well! May be, may be. One must see. Would ask his wife." This was her answer. He felt like a blow on his chest, but said only: "Go, draw me some cider. I am thirsty!"
She went out moaning, an empty jug in her hand. Then he arose, took up the light, and moved slowly towards the cradle. They slept. He looked at them sideways, finished his mouthful there, went back heavily, and sat down before his plate. When his wife returned he never looked up, but swallowed a couple of spoonfuls noisily, and remarked, in a dull manner--
"When they sleep they are like other people's children."
She sat down suddenly on a stool near by, and shook with a silent tempest of sobs, unable to speak. He finished his meal, and remained idly thrown back in his chair, his eyes lost amongst the black rafters of the ceiling. Before him the tallow candle flared red and straight, sending up a slender thread of smoke. The light lay on the rough, sunburnt skin of his throat; the sunk cheeks were like patches of darkness, and his aspect was mournfully stolid, as if he had ruminated with difficulty endless ideas. Then he said, deliberately--
"We must see . . . consult people. Don't cry. . . . They won't all be like that . . . surely! We must sleep now."
After the third child, also a boy, was born, Jean-Pierre went about his work with tense hopefulness. His lips seemed more narrow, more tightly compressed than before; as if for fear of letting the earth he tilled hear the voice of hope that murmured within his breast. He watched the child, stepping up to the cot with a heavy clang of sabots on the stone floor, and glanced in, along his shoulder, with that indifference which is like a deformity of peasant humanity. Like the earth they master and serve, those men, slow of eye and speech, do not show the inner fire; so that, at last, it becomes a question with them as with the earth, what there is in the core: heat, violence, a force mysterious and terrible--or nothing but a clod, a mass fertile and inert, cold and unfeeling, ready to bear a crop of plants that sustain life or give death.
When the twins were born there was plenty of room in the house, for the mother of Jean-Pierre had gone away to dwell under a heavy stone in the cemetery of Ploumar. On that day, for the first time since his son's marriage, the elder Bacadou, neglected by the cackling lot of strange women who thronged the kitchen, left in the morning his seat under the mantel of the fireplace, and went into the empty cow-house, shaking his white locks dismally. Grandsons were all very well, but he wanted his soup at midday. When shown the babies, he stared at them with a fixed gaze, and muttered something like: "It's too much." Whether he meant too much happiness, or simply commented upon the number of his descendants, it is impossible to say. He looked offended --as far as his old wooden face could express anything; and for days afterwards could be seen, almost any time of the day, sitting at the gate, with his nose over his knees, a pipe between his gums, and gathered up into a kind of raging concentrated sulkiness. Once he spoke to his son, alluding to the newcomers with a groan: "They will quarrel over the land." "Don't bother about that, father," answered Jean-Pierre, stolidly, and passed, bent double, towing a recalcitrant cow over his shoulder.
He was happy, and so was Susan, his wife. It was not an ethereal joy welcoming new souls to struggle, perchance to victory. In fourteen years both boys would be a help; and, later on, Jean-Pierre pictured two big sons striding over the land from patch to patch, wringing tribute from the earth beloved and fruitful. Susan was happy too, for she did not want to be spoken of as the unfortunate woman, and now she had children no one could call her that. Both herself and her husband had seen something of the larger world--he during the time of his service; while she had spent a year or so in Paris with a Breton family; but had been too home-sick to remain longer away from the hilly and green country, set in a barren circle of rocks and sands, where she had been born. She thought that one of the boys ought perhaps to be a priest, but said nothing to her husband, who was a republican, and hated the "crows," as he called the ministers of religion. The christening was a splendid affair. All the commune came to it, for the Bacadous were rich and influential, and, now and then, did not mind the expense. The grandfather had a new coat.
Some months afterwards, one evening when the kitchen had been swept, and the door locked, Jean-Pierre, looking at the cot, asked his wife: "What's the matter with those children?" And, as if these words, spoken calmly, had been the portent of misfortune, she answered with a loud wail that must have been heard across the yard in the pig-sty; for the pigs (the Bacadous had the finest pigs in the country) stirred and grunted complainingly in the night. The husband went on grinding his bread and butter slowly, gazing at the wall, the soup-plate smoking under his chin. He had returned late from the market, where he had overheard (not for the first time) whispers behind his back. He revolved the words in his mind as he drove back. "Simple! Both of them. . . . Never any use! . . . Well! May be, may be. One must see. Would ask his wife." This was her answer. He felt like a blow on his chest, but said only: "Go, draw me some cider. I am thirsty!"
She went out moaning, an empty jug in her hand. Then he arose, took up the light, and moved slowly towards the cradle. They slept. He looked at them sideways, finished his mouthful there, went back heavily, and sat down before his plate. When his wife returned he never looked up, but swallowed a couple of spoonfuls noisily, and remarked, in a dull manner--
"When they sleep they are like other people's children."
She sat down suddenly on a stool near by, and shook with a silent tempest of sobs, unable to speak. He finished his meal, and remained idly thrown back in his chair, his eyes lost amongst the black rafters of the ceiling. Before him the tallow candle flared red and straight, sending up a slender thread of smoke. The light lay on the rough, sunburnt skin of his throat; the sunk cheeks were like patches of darkness, and his aspect was mournfully stolid, as if he had ruminated with difficulty endless ideas. Then he said, deliberately--
"We must see . . . consult people. Don't cry. . . . They won't all be like that . . . surely! We must sleep now."
After the third child, also a boy, was born, Jean-Pierre went about his work with tense hopefulness. His lips seemed more narrow, more tightly compressed than before; as if for fear of letting the earth he tilled hear the voice of hope that murmured within his breast. He watched the child, stepping up to the cot with a heavy clang of sabots on the stone floor, and glanced in, along his shoulder, with that indifference which is like a deformity of peasant humanity. Like the earth they master and serve, those men, slow of eye and speech, do not show the inner fire; so that, at last, it becomes a question with them as with the earth, what there is in the core: heat, violence, a force mysterious and terrible--or nothing but a clod, a mass fertile and inert, cold and unfeeling, ready to bear a crop of plants that sustain life or give death.
The Idiots by Joseph Conrad (part1)
We were driving along the road from Treguier to Kervanda. We passed at a smart trot between the hedges topping an earth wall on each side of the road; then at the foot of the steep ascent before Ploumar the horse dropped into a walk, and the driver jumped down heavily from the box. He flicked his whip and climbed the incline, stepping clumsily uphill by the side of the carriage, one hand on the footboard, his eyes on the ground. After a while he lifted his head, pointed up the road with the end of the whip, and said--
"The idiot!"
The sun was shining violently upon the undulating surface of the land. The rises were topped by clumps of meagre trees, with their branches showing high on the sky as if they had been perched upon stilts. The small fields, cut up by hedges and stone walls that zig-zagged over the slopes, lay in rectangular patches of vivid greens and yellows, resembling the unskilful daubs of a naive picture. And the landscape was divided in two by the white streak of a road stretching in long loops far away, like a river of dust crawling out of the hills on its way to the sea.
"Here he is," said the driver, again.
In the long grass bordering the road a face glided past the carriage at the level of the wheels as we drove slowly by. The imbecile face was red, and the bullet head with close-cropped hair seemed to lie alone, its chin in the dust. The body was lost in the bushes growing thick along the bottom of the deep ditch.
It was a boy's face. He might have been sixteen, judging from the size--perhaps less, perhaps more. Such creatures are forgotten by time, and live untouched by years till death gathers them up into its compassionate bosom; the faithful death that never forgets in the press of work the most insignificant of its children.
"Ah! there's another," said the man, with a certain satisfaction in his tone, as if he had caught sight of something expected.
There was another. That one stood nearly in the middle of the road in the blaze of sunshine at the end of his own short shadow. And he stood with hands pushed into the opposite sleeves of his long coat, his head sunk between the shoulders, all hunched up in the flood of heat. From a distance he had the aspect of one suffering from intense cold.
"Those are twins," explained the driver.
The idiot shuffled two paces out of the way and looked at us over his shoulder when we brushed past him. The glance was unseeing and staring, a fascinated glance; but he did not turn to look after us. Probably the image passed before the eyes without leaving any trace on the misshapen brain of the creature. When we had topped the ascent I looked over the hood. He stood in the road just where we had left him.
The driver clambered into his seat, clicked his tongue, and we went downhill. The brake squeaked horribly from time to time. At the foot he eased off the noisy mechanism and said, turning half round on his box--
"We shall see some more of them by-and-by."
"More idiots? How many of them are there, then?" I asked.
"There's four of them--children of a farmer near Ploumar here. . . . The parents are dead now," he added, after a while. "The grandmother lives on the farm. In the daytime they knock about on this road, and they come home at dusk along with the cattle. . . . It's a good farm."
We saw the other two: a boy and a girl, as the driver said. They were dressed exactly alike, in shapeless garments with petticoat-like skirts. The imperfect thing that lived within them moved those beings to howl at us from the top of the bank, where they sprawled amongst the tough stalks of furze. Their cropped black heads stuck out from the bright yellow wall of countless small blossoms. The faces were purple with the strain of yelling; the voices sounded blank and cracked like a mechanical imitation of old people's voices; and suddenly ceased when we turned into a lane.
I saw them many times in my wandering about the country. They lived on that road, drifting along its length here and there, according to the inexplicable impulses of their monstrous darkness. They were an offence to the sunshine, a reproach to empty heaven, a blight on the concentrated and purposeful vigour of the wild landscape. In time the story of their parents shaped itself before me out of the listless answers to my questions, out of the indifferent words heard in wayside inns or on the very road those idiots haunted. Some of it was told by an emaciated and sceptical old fellow with a tremendous whip, while we trudged together over the sands by the side of a two-wheeled cart loaded with dripping seaweed. Then at other times other people confirmed and completed the story: till it stood at last before me, a tale formidable and simple, as they always are, those disclosures of obscure trials endured by ignorant hearts.
When he returned from his military service Jean-Pierre Bacadou found the old people very much aged. He remarked with pain that the work of the farm was not satisfactorily done. The father had not the energy of old days. The hands did not feel over them the eye of the master. Jean-Pierre noted with sorrow that the heap of manure in the courtyard before the only entrance to the house was not so large as it should have been. The fences were out of repair, and the cattle suffered from neglect. At home the mother was practically bedridden, and the girls chattered loudly in the big kitchen, unrebuked, from morning to night. He said to himself: "We must change all this." He talked the matter over with his father one evening when the rays of the setting sun entering the yard between the outhouses ruled the heavy shadows with luminous streaks. Over the manure heap floated a mist, opal-tinted and odorous, and the marauding hens would stop in their scratching to examine with a sudden glance of their round eye the two men, both lean and tall, talking in hoarse tones. The old man, all twisted with rheumatism and bowed with years of work, the younger bony and straight, spoke without gestures in the indifferent manner of peasants, grave and slow. But before the sun had set the father had submitted to the sensible arguments of the son. "It is not for me that I am speaking," insisted Jean-Pierre. "It is for the land. It's a pity to see it badly used. I am not impatient for myself." The old fellow nodded over his stick. "I dare say; I dare say," he muttered. "You may be right. Do what you like. It's the mother that will be pleased."(continued).....
"The idiot!"
The sun was shining violently upon the undulating surface of the land. The rises were topped by clumps of meagre trees, with their branches showing high on the sky as if they had been perched upon stilts. The small fields, cut up by hedges and stone walls that zig-zagged over the slopes, lay in rectangular patches of vivid greens and yellows, resembling the unskilful daubs of a naive picture. And the landscape was divided in two by the white streak of a road stretching in long loops far away, like a river of dust crawling out of the hills on its way to the sea.
"Here he is," said the driver, again.
In the long grass bordering the road a face glided past the carriage at the level of the wheels as we drove slowly by. The imbecile face was red, and the bullet head with close-cropped hair seemed to lie alone, its chin in the dust. The body was lost in the bushes growing thick along the bottom of the deep ditch.
It was a boy's face. He might have been sixteen, judging from the size--perhaps less, perhaps more. Such creatures are forgotten by time, and live untouched by years till death gathers them up into its compassionate bosom; the faithful death that never forgets in the press of work the most insignificant of its children.
"Ah! there's another," said the man, with a certain satisfaction in his tone, as if he had caught sight of something expected.
There was another. That one stood nearly in the middle of the road in the blaze of sunshine at the end of his own short shadow. And he stood with hands pushed into the opposite sleeves of his long coat, his head sunk between the shoulders, all hunched up in the flood of heat. From a distance he had the aspect of one suffering from intense cold.
"Those are twins," explained the driver.
The idiot shuffled two paces out of the way and looked at us over his shoulder when we brushed past him. The glance was unseeing and staring, a fascinated glance; but he did not turn to look after us. Probably the image passed before the eyes without leaving any trace on the misshapen brain of the creature. When we had topped the ascent I looked over the hood. He stood in the road just where we had left him.
The driver clambered into his seat, clicked his tongue, and we went downhill. The brake squeaked horribly from time to time. At the foot he eased off the noisy mechanism and said, turning half round on his box--
"We shall see some more of them by-and-by."
"More idiots? How many of them are there, then?" I asked.
"There's four of them--children of a farmer near Ploumar here. . . . The parents are dead now," he added, after a while. "The grandmother lives on the farm. In the daytime they knock about on this road, and they come home at dusk along with the cattle. . . . It's a good farm."
We saw the other two: a boy and a girl, as the driver said. They were dressed exactly alike, in shapeless garments with petticoat-like skirts. The imperfect thing that lived within them moved those beings to howl at us from the top of the bank, where they sprawled amongst the tough stalks of furze. Their cropped black heads stuck out from the bright yellow wall of countless small blossoms. The faces were purple with the strain of yelling; the voices sounded blank and cracked like a mechanical imitation of old people's voices; and suddenly ceased when we turned into a lane.
I saw them many times in my wandering about the country. They lived on that road, drifting along its length here and there, according to the inexplicable impulses of their monstrous darkness. They were an offence to the sunshine, a reproach to empty heaven, a blight on the concentrated and purposeful vigour of the wild landscape. In time the story of their parents shaped itself before me out of the listless answers to my questions, out of the indifferent words heard in wayside inns or on the very road those idiots haunted. Some of it was told by an emaciated and sceptical old fellow with a tremendous whip, while we trudged together over the sands by the side of a two-wheeled cart loaded with dripping seaweed. Then at other times other people confirmed and completed the story: till it stood at last before me, a tale formidable and simple, as they always are, those disclosures of obscure trials endured by ignorant hearts.
When he returned from his military service Jean-Pierre Bacadou found the old people very much aged. He remarked with pain that the work of the farm was not satisfactorily done. The father had not the energy of old days. The hands did not feel over them the eye of the master. Jean-Pierre noted with sorrow that the heap of manure in the courtyard before the only entrance to the house was not so large as it should have been. The fences were out of repair, and the cattle suffered from neglect. At home the mother was practically bedridden, and the girls chattered loudly in the big kitchen, unrebuked, from morning to night. He said to himself: "We must change all this." He talked the matter over with his father one evening when the rays of the setting sun entering the yard between the outhouses ruled the heavy shadows with luminous streaks. Over the manure heap floated a mist, opal-tinted and odorous, and the marauding hens would stop in their scratching to examine with a sudden glance of their round eye the two men, both lean and tall, talking in hoarse tones. The old man, all twisted with rheumatism and bowed with years of work, the younger bony and straight, spoke without gestures in the indifferent manner of peasants, grave and slow. But before the sun had set the father had submitted to the sensible arguments of the son. "It is not for me that I am speaking," insisted Jean-Pierre. "It is for the land. It's a pity to see it badly used. I am not impatient for myself." The old fellow nodded over his stick. "I dare say; I dare say," he muttered. "You may be right. Do what you like. It's the mother that will be pleased."(continued).....
The Music on the Hill by Saki (part2)
Of Mortimer she saw very little; farm and woods and trout- streams seemed to swallow him up from dawn till dusk. Once, following the direction she had seen him take in the morning, she came to an open space in a nut copse, further shut in by huge yew trees, in the centre of which stood a stone pedestal surmounted by a small bronze figure of a youthful Pan. It was a beautiful piece of workmanship, but her attention was chiefly held by the fact that a newly cut bunch of grapes had been placed as an offering at its feet. Grapes were none too plentiful at the manor house, and Sylvia snatched the bunch angrily from the pedestal. Contemptuous annoyance dominated her thoughts as she strolled slowly homeward, and then gave way to a sharp feeling of something that was very near fright; across a thick tangle of undergrowth a boy's face was scowling at her, brown and beautiful, with unutterably evil eyes. It was a lonely pathway, all pathways round Yessney were lonely for the matter of that, and she sped forward without waiting to give a closer scrutiny to this sudden apparition. It was not till she had reached the house that she discovered that she had dropped the bunch of grapes in her flight.
"I saw a youth in the wood today," she told Mortimer that evening, "brown-faced and rather handsome, but a scoundrel to look at. A gipsy lad, I suppose."
"A reasonable theory," said Mortimer, "only there aren't any gipsies in these parts at present."
"Then who was he?" asked Sylvia, and as Mortimer appeared to have no theory of his own she passed on to recount her finding of the votive offering.
"I suppose it was your doing," she observed; "it's a harmless piece of lunacy, but people would think you dreadfully silly if they knew of it."
"Did you meddle with it in any way?" asked Mortimer.
"I - I threw the grapes away. It seemed so silly," said Sylvia, watching Mortimer's impassive face for a sign of annoyance.
"I don't think you were wise to do that," he said reflectively. "I've heard it said that the Wood Gods are rather horrible to those who molest them."
"Horrible perhaps to those that believe in them, but you see I don't," retorted Sylvia.
"All the same," said Mortimer in his even, dispassionate tone, "I should avoid the woods and orchards if I were you, and give a wide berth to the horned beasts on the farm."
It was all nonsense, of course, but in that lonely wood-girt spot nonsense seemed able to rear a bastard brood of uneasiness.
"Mortimer," said Sylvia suddenly, "I think we will go back to Town some time soon."
Her victory had not been so complete as she had supposed; it had carried her on to ground that she was already anxious to quit.
"I don't think you will ever go back to Town," said Mortimer. He seemed to be paraphrasing his mother's prediction as to himself.
Sylvia noted with dissatisfaction and some self-contempt that the course of her next afternoon's ramble took her instinctively clear of the network of woods. As to the horned cattle, Mortimer's warning was scarcely needed, for she had always regarded them as of doubtful neutrality at the best: her imagination
unsexed the most matronly dairy cows and turned them into bulls liable to "see red" at any moment. The ram who fed in the narrow paddock below the orchards she had adjudged, after ample and cautious probation, to be of docile temper; today, however, she decided to leave his docility untested, for the usually tranquil beast was roaming with every sign of restlessness from corner to corner of his meadow. A low, fitful piping, as of some reedy flute, was coming from the depth of a neighbouring copse, and there seemed to be some subtle connection between the animal's restless pacing and the wild music from the wood. Sylvia turned her steps in an upward direction and climbed the heather-clad slopes that stretched in rolling shoulders high above Yessney. She had left the piping notes behind her, but across the wooded combes at her feet the wind brought her another kind of music, the straining bay of hounds in full chase. Yessney was just on the outskirts of the Devon-and-Somerset country, and the hunted deer sometimes came that way. Sylvia could presently see a dark body, breasting hill after hill, and sinking again and again out of sight as he crossed the combes, while behind him steadily swelled that relentless chorus, and she grew tense with the excited sympathy that one feels for any hunted thing in whose capture one is not directly interested. And at last he broke through the outermost line of oak scrub and fern and stood panting in the open, a fat September stag carrying a well-furnished head. His obvious course was to drop down to the brown pools of Undercombe, and thence make his way towards the red deer's favoured sanctuary, the sea. To Sylvia's surprise, however, he turned his head to the upland slope and came lumbering resolutely onward over the heather. "It will be dreadful," she thought, "the hounds will pull him down under my very eyes." But the music of the pack seemed to have died away for a moment, and in its place she heard again that wild piping, which rose now on this side, now on that, as though urging the failing stag to a final effort. Sylvia stood well aside from his path, half hidden in a thick growth of whortle bushes, and watched him swing stiffly upward, his flanks dark with sweat, the coarse hair on his neck showing light by contrast. The pipe music shrilled suddenly around her, seeming to come from the bushes at her very feet, and at the same moment the great beast slewed round and bore directly down upon her. In an instant her pity for the hunted animal was changed to wild terror at her own danger; the thick heather roots mocked her scrambling efforts at flight, and she looked frantically downward for a glimpse of oncoming hounds. The huge antler spikes were within a few yards of her, and in a flash of numbing fear she remembered Mortimer's warning, to beware of horned beasts on the farm. And then with a quick throb of joy she saw that she was not alone; a human figure stood a few paces aside, knee-deep in the whortle bushes.
"Drive it off!" she shrieked. But the figure made no answering movement.
The antlers drove straight at her breast, the acrid smell of the hunted animal was in her nostrils, but her eyes were filled with the horror of something she saw other than her oncoming death. And in her ears rang the echo of a boy's laughter, golden and equivocal.
THE END.....
"I saw a youth in the wood today," she told Mortimer that evening, "brown-faced and rather handsome, but a scoundrel to look at. A gipsy lad, I suppose."
"A reasonable theory," said Mortimer, "only there aren't any gipsies in these parts at present."
"Then who was he?" asked Sylvia, and as Mortimer appeared to have no theory of his own she passed on to recount her finding of the votive offering.
"I suppose it was your doing," she observed; "it's a harmless piece of lunacy, but people would think you dreadfully silly if they knew of it."
"Did you meddle with it in any way?" asked Mortimer.
"I - I threw the grapes away. It seemed so silly," said Sylvia, watching Mortimer's impassive face for a sign of annoyance.
"I don't think you were wise to do that," he said reflectively. "I've heard it said that the Wood Gods are rather horrible to those who molest them."
"Horrible perhaps to those that believe in them, but you see I don't," retorted Sylvia.
"All the same," said Mortimer in his even, dispassionate tone, "I should avoid the woods and orchards if I were you, and give a wide berth to the horned beasts on the farm."
It was all nonsense, of course, but in that lonely wood-girt spot nonsense seemed able to rear a bastard brood of uneasiness.
"Mortimer," said Sylvia suddenly, "I think we will go back to Town some time soon."
Her victory had not been so complete as she had supposed; it had carried her on to ground that she was already anxious to quit.
"I don't think you will ever go back to Town," said Mortimer. He seemed to be paraphrasing his mother's prediction as to himself.
Sylvia noted with dissatisfaction and some self-contempt that the course of her next afternoon's ramble took her instinctively clear of the network of woods. As to the horned cattle, Mortimer's warning was scarcely needed, for she had always regarded them as of doubtful neutrality at the best: her imagination
unsexed the most matronly dairy cows and turned them into bulls liable to "see red" at any moment. The ram who fed in the narrow paddock below the orchards she had adjudged, after ample and cautious probation, to be of docile temper; today, however, she decided to leave his docility untested, for the usually tranquil beast was roaming with every sign of restlessness from corner to corner of his meadow. A low, fitful piping, as of some reedy flute, was coming from the depth of a neighbouring copse, and there seemed to be some subtle connection between the animal's restless pacing and the wild music from the wood. Sylvia turned her steps in an upward direction and climbed the heather-clad slopes that stretched in rolling shoulders high above Yessney. She had left the piping notes behind her, but across the wooded combes at her feet the wind brought her another kind of music, the straining bay of hounds in full chase. Yessney was just on the outskirts of the Devon-and-Somerset country, and the hunted deer sometimes came that way. Sylvia could presently see a dark body, breasting hill after hill, and sinking again and again out of sight as he crossed the combes, while behind him steadily swelled that relentless chorus, and she grew tense with the excited sympathy that one feels for any hunted thing in whose capture one is not directly interested. And at last he broke through the outermost line of oak scrub and fern and stood panting in the open, a fat September stag carrying a well-furnished head. His obvious course was to drop down to the brown pools of Undercombe, and thence make his way towards the red deer's favoured sanctuary, the sea. To Sylvia's surprise, however, he turned his head to the upland slope and came lumbering resolutely onward over the heather. "It will be dreadful," she thought, "the hounds will pull him down under my very eyes." But the music of the pack seemed to have died away for a moment, and in its place she heard again that wild piping, which rose now on this side, now on that, as though urging the failing stag to a final effort. Sylvia stood well aside from his path, half hidden in a thick growth of whortle bushes, and watched him swing stiffly upward, his flanks dark with sweat, the coarse hair on his neck showing light by contrast. The pipe music shrilled suddenly around her, seeming to come from the bushes at her very feet, and at the same moment the great beast slewed round and bore directly down upon her. In an instant her pity for the hunted animal was changed to wild terror at her own danger; the thick heather roots mocked her scrambling efforts at flight, and she looked frantically downward for a glimpse of oncoming hounds. The huge antler spikes were within a few yards of her, and in a flash of numbing fear she remembered Mortimer's warning, to beware of horned beasts on the farm. And then with a quick throb of joy she saw that she was not alone; a human figure stood a few paces aside, knee-deep in the whortle bushes.
"Drive it off!" she shrieked. But the figure made no answering movement.
The antlers drove straight at her breast, the acrid smell of the hunted animal was in her nostrils, but her eyes were filled with the horror of something she saw other than her oncoming death. And in her ears rang the echo of a boy's laughter, golden and equivocal.
THE END.....
The Music on the Hill by Saki (part1)
Sylvia Seltoun ate her breakfast in the morning-room at Yessney with a pleasant sense of ultimate victory, such as a fervent Ironside might have permitted himself on the morrow of Worcester fight. She was scarcely pugnacious by temperament, but belonged to that more successful class of fighters who are pugnacious by circumstance. Fate had willed that her life should be occupied with a series of small struggles, usually with the odds slightly against her, and usually she had just managed to come through winning. And now she felt that she had brought her hardest and certainly her most important struggle to a successful issue. To have married Mortimer Seltoun, "Dead Mortimer" as his more intimate enemies called him, in the teeth of the cold hostility of his family, and in spite of his unaffected indifference to women, was indeed an achievement that had needed some determination and adroitness to carry through; yesterday she had brought her victory to its concluding stage by wrenching her husband away from Town and its group of satellite watering-places and "settling him down," in the vocabulary of her kind, in this remote wood-girt manor farm which was his country house.
"You will never get Mortimer to go," his mother had said carpingly, "but if he once goes he'll stay; Yessney throws almost as much a spell over him as Town does. One can understand what holds him to Town, but Yessney--" and the dowager had shrugged her shoulders.
There was a sombre almost savage wildness about Yessney that was certainly not likely to appeal to town-bred tastes, and Sylvia, notwithstanding her name, was accustomed to nothing much more sylvan than "leafy Kensington." She looked on the country as something excellent and wholesome in its way, which was apt to become troublesome if you encouraged it overmuch. Distrust of townlife had been a new thing with her, born of her marriage with Mortimer, and she had watched with satisfaction the gradual fading of what she called "the Jermyn-Street-look" in his eyes as the woods and heather of Yessney had closed in on them yesternight. Her will-power and strategy had prevailed; Mortimer would stay. Outside the morning-room windows was a triangular slope of turf, which the indulgent might call a lawn, and beyond its low hedge of neglected fuschia bushes a steeper slope of heather and bracken dropped down into cavernous combes overgrown with oak and yew. In its wild open savagery there seemed a stealthy linking of the joy of life with the terror of unseen things. Sylvia smiled complacently as she gazed with a School-of-Art appreciation at the landscape, and then of a sudden she almost shuddered.
"It is very wild," she said to Mortimer, who had joined her; "one could almost think that in such a place the worship of Pan had never quite died out."
"The worship of Pan never has died out," said Mortimer. "Other newer gods have drawn aside his votaries from time to time, but he is the Nature-God to whom all must come back at last. He has been called the Father of all the Gods, but most of his children have been stillborn."
Sylvia was religious in an honest, vaguely devotional kind of way, and did not like to hear her beliefs spoken of as mere aftergrowths, but it was at least something new and hopeful to hear Dead Mortimer speak with such energy and conviction on any subject.
"You don't really believe in Pan?" she asked incredulously.
"I've been a fool in most things," said Mortimer quietly, "but I'm not such a fool as not to believe in Pan when I'm down here. And if you're wise you won't disbelieve in him too boastfully while you're in his country."
It was not till a week later, when Sylvia had exhausted the attractions of the woodland walks round Yessney, that she ventured on a tour of inspection of the farm buildings. A farmyard suggested in her mind a scene of cheerful bustle, with churns and flails and smiling dairymaids, and teams of horses drinking knee-deep in duck-crowded ponds. As she wandered among the gaunt grey buildings of Yessney manor farm her first impression was one of crushing stillness and desolation, as though she had happened on some lone deserted homestead long given over to owls and cobwebs; then came a sense of furtive watchful hostility, the same shadow of unseen things that seemed to lurk in the wooded combes and coppices. From behind heavy doors and shuttered windows came the restless stamp of hoof or rasp of chain halter, and at times a muffled bellow from some stalled beast. From a distant comer a shaggy dog watched her with intent unfriendly eyes; as she drew near it slipped quietly into its kennel, and slipped out again as noiselessly when she had passed by. A few hens, questing for food under a rick, stole away under a gate at her approach. Sylvia felt that if she had come across any human beings in this wilderness of barn and byre they would have fled wraith-like from her gaze. At last, turning a corner quickly, she came upon a living thing that did not fly from her. Astretch in a pool of mud was an enormous sow, gigantic beyond the town-woman's wildest computation of swine-flesh, and speedily alert to resent and if necessary repel the unwonted intrusion. It was Sylvia's turn to make an unobtrusive retreat. As she threaded her way past rickyards and cowsheds and long blank walls, she started suddenly at a strange sound - the echo of a boy's laughter, golden and equivocal. Jan, the only boy employed on the farm, a tow-headed, wizen-faced yokel, was visibly at work on a potato clearing half-way up the nearest hill-side, and Mortimer, when questioned, knew of no other probable or possible begetter of the hidden mockery that had ambushed Sylvia's retreat. The memory of that untraceable echo was added to her other impressions of a furtive sinister "something" that hung around Yessney. (continued)
"You will never get Mortimer to go," his mother had said carpingly, "but if he once goes he'll stay; Yessney throws almost as much a spell over him as Town does. One can understand what holds him to Town, but Yessney--" and the dowager had shrugged her shoulders.
There was a sombre almost savage wildness about Yessney that was certainly not likely to appeal to town-bred tastes, and Sylvia, notwithstanding her name, was accustomed to nothing much more sylvan than "leafy Kensington." She looked on the country as something excellent and wholesome in its way, which was apt to become troublesome if you encouraged it overmuch. Distrust of townlife had been a new thing with her, born of her marriage with Mortimer, and she had watched with satisfaction the gradual fading of what she called "the Jermyn-Street-look" in his eyes as the woods and heather of Yessney had closed in on them yesternight. Her will-power and strategy had prevailed; Mortimer would stay. Outside the morning-room windows was a triangular slope of turf, which the indulgent might call a lawn, and beyond its low hedge of neglected fuschia bushes a steeper slope of heather and bracken dropped down into cavernous combes overgrown with oak and yew. In its wild open savagery there seemed a stealthy linking of the joy of life with the terror of unseen things. Sylvia smiled complacently as she gazed with a School-of-Art appreciation at the landscape, and then of a sudden she almost shuddered.
"It is very wild," she said to Mortimer, who had joined her; "one could almost think that in such a place the worship of Pan had never quite died out."
"The worship of Pan never has died out," said Mortimer. "Other newer gods have drawn aside his votaries from time to time, but he is the Nature-God to whom all must come back at last. He has been called the Father of all the Gods, but most of his children have been stillborn."
Sylvia was religious in an honest, vaguely devotional kind of way, and did not like to hear her beliefs spoken of as mere aftergrowths, but it was at least something new and hopeful to hear Dead Mortimer speak with such energy and conviction on any subject.
"You don't really believe in Pan?" she asked incredulously.
"I've been a fool in most things," said Mortimer quietly, "but I'm not such a fool as not to believe in Pan when I'm down here. And if you're wise you won't disbelieve in him too boastfully while you're in his country."
It was not till a week later, when Sylvia had exhausted the attractions of the woodland walks round Yessney, that she ventured on a tour of inspection of the farm buildings. A farmyard suggested in her mind a scene of cheerful bustle, with churns and flails and smiling dairymaids, and teams of horses drinking knee-deep in duck-crowded ponds. As she wandered among the gaunt grey buildings of Yessney manor farm her first impression was one of crushing stillness and desolation, as though she had happened on some lone deserted homestead long given over to owls and cobwebs; then came a sense of furtive watchful hostility, the same shadow of unseen things that seemed to lurk in the wooded combes and coppices. From behind heavy doors and shuttered windows came the restless stamp of hoof or rasp of chain halter, and at times a muffled bellow from some stalled beast. From a distant comer a shaggy dog watched her with intent unfriendly eyes; as she drew near it slipped quietly into its kennel, and slipped out again as noiselessly when she had passed by. A few hens, questing for food under a rick, stole away under a gate at her approach. Sylvia felt that if she had come across any human beings in this wilderness of barn and byre they would have fled wraith-like from her gaze. At last, turning a corner quickly, she came upon a living thing that did not fly from her. Astretch in a pool of mud was an enormous sow, gigantic beyond the town-woman's wildest computation of swine-flesh, and speedily alert to resent and if necessary repel the unwonted intrusion. It was Sylvia's turn to make an unobtrusive retreat. As she threaded her way past rickyards and cowsheds and long blank walls, she started suddenly at a strange sound - the echo of a boy's laughter, golden and equivocal. Jan, the only boy employed on the farm, a tow-headed, wizen-faced yokel, was visibly at work on a potato clearing half-way up the nearest hill-side, and Mortimer, when questioned, knew of no other probable or possible begetter of the hidden mockery that had ambushed Sylvia's retreat. The memory of that untraceable echo was added to her other impressions of a furtive sinister "something" that hung around Yessney. (continued)
Politics and the English Language (continued)
Here it is in modern English:
Objective consideration of contemporary phenomena compels the conclusion that success or failure in competitive activities exhibits no tendency to be commensurate with innate capacity, but that a considerable element of the unpredictable must invariably be taken into account.
This is a parody, but not a very gross one. Exhibit (3), above, for instance, contains several patches of the same kind of English. It will be seen that I have not made a full translation. The beginning and ending of the sentence follow the original meaning fairly closely, but in the middle the concrete illustrations--race, battle, bread--dissolve into the vague phrase "success or failure in competitive activities." This had to be so, because no modern writer of the kind I am discussing--no one capable of using phrases like objective consideration of contemporary phenomena"--would ever tabulate his thoughts in that precise and detailed way. The whole tendency of modern prose is away from concreteness. Now analyze these two sentences a little more closely. The first contains 49 words but only 60 syllables, and all its words are those of everyday life. The second contains 38 words of 90 syllables: 18 of its words are from Latin roots, and one from Greek. The first sentence contains six vivid images, and only one phrase ("time and chance") that could be called vague. The second contains not a single fresh, arresting phrase, and in spite of its 90 syllables it gives only a shortened version of the meaning contained in the first. Yet without a doubt it is the second kind of sentence that is gaining ground in modern English. I do not want to exaggerate. This kind of writing is not yet universal, and outcrops of simplicity will occur here and there in the worst-written page. Still, if you or I were told to write a few lines on the uncertainty of human fortunes, we should probably come much nearer to my imaginary sentence than to the one from Ecclesiastes.
As I have tried to show, modern writing at its worst does not consist in picking out words for the sake of their meaning and inventing images in order to make the meaning clearer. It consists in gumming together long strips of words which have already been set in order by someone else, and making the results presentable by sheer humbug. The attraction of this way of writing, is that it is easy. It is easier--even quicker, once you have the habit--to say In my opinion it is a not unjustifiable assumption that than to say I think. If you use ready-made phrases, you not only don't have to hunt about for words; you also don't have to bother with the rhythms of your sentences, since these phrases are generally so arranged as to be more or less euphonious. When you are composing in a hurry--when you are dictating to a stenographer, for instance, or making a public speech--it is natural to fall into a pretentious, Latinized style. Tags like a consideration which we should do well to bear in mind or a conclusion to which all of us would readily assent will save many a sentence from coming down with a bump. By using stale metaphors, similes and idioms, you save much mental effort at the cost of leaving your meaning vague, not only for your reader but for yourself. This is the significance of mixed metaphors. The sole aim of a metaphor is to call up a visual image. When these images clash--as in The Fascist octopus has sung its swan song, the jackboot is thrown into the melting pot--it can be taken as certain that the writer is not seeing a mental image of the objects he is naming; in other words he is not really thinking. Look again at the examples I gave at the beginning of this essay. Professor Laski (1) uses five negatives in 53 words. One of these is superfluous, making nonsense of the whole passage, and in addition there is the slip alien for akin, making further nonsense, and several avoidable pieces of clumsiness which increase the general vagueness. Professor Hogben (2) plays ducks and drakes with a battery which is able to write prescriptions, and, while disapproving of the everyday phrase put up with, is unwilling to look egregious up in the dictionary and see what it means. (3), if one takes an uncharitable attitude towards it, is simply meaningless: probably one could work out its intended meaning by reading the whole of the article in which it occurs. In (4), the writer knows more or less what he wants to say, but an accumulation of stale phrases chokes him like tea leaves blocking a sink. In (5), words and meaning have almost parted company. People who write in this manner usually have a general emotional meaning--they dislike one thing and want to express solidarity with another--but they are not interested in the detail of what they are saying. A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus: What am I trying to say? What words will express it? What image or idiom will make it clearer? Is this image fresh enough to have an effect? And he will probably ask himself two more: Could I put it more shortly? Have I said anything that is avoidably ugly? But you are not obliged to go to all this trouble. You can shirk it by simply throwing your mind open and letting the ready-made phrases come crowding in. They will construct your sentences for you--even think your thoughts for you, to a certain extent-and at need they will perform the important service of partially concealing your meaning even from yourself. It is at this point that the special connection between politics and the debasement of language becomes clear.
In our time it is broadly true that political writing is bad writing. Where it is not true, it will generally be found that the writer is some kind of rebel, expressing his private opinions and not a "party line." Orthodoxy, of whatever color, seems to demand a lifeless, imitative style. The political dialects to be found in pamphlets, leading articles, manifestoes, White Papers and the speeches of under-secretaries do, of course, vary from party to party, but they are all alike in that one almost never finds in them a fresh, vivid, home-made turn of speech. When one watches some tired hack on the platform mechanically repeating the familiar phrases--bestial atrocities, iron heel, bloodstained tyranny, free peoples of the world, stand shoulder to shoulder--one often has a curious feeling that one is not watching a live human being but some kind of dummy: a feeling which suddenly becomes stronger at moments when the light catches the speaker's spectacles and turns them into blank discs which seem to have no eyes behind them. And this is not altogether fanciful. A speaker who uses that kind of phraseology has gone some distance towards turning himself into a machine. The appropriate noises are coming out of his larynx, but his brain is not involved as it would be if he were choosing his words for himself. If the speech he is making is one that he is accustomed to make over and over again, he may be almost unconscious of what he is saying, as one is when one utters the responses in church. And this reduced state of consciousness, if not indispensable, is at any rate favorable to political conformity.
In our time, political speech and writing are largely the defense of the indefensible. Things like the continuance of British rule in India, the Russian purges and deportations, the dropping of the atom bombs on Japan, can indeed be defended, but only by arguments which are too brutal for most people to face, and which do not square with the professed aims of political parties. Thus political language has to consist largely of euphemism, question-begging and sheer cloudy vagueness. Defenseless villages are bombarded from the air, the inhabitants driven out into the countryside, the cattle machine-gunned, the huts set on fire with incendiary bullets: this is called pacification. Millions of peasants are robbed of their farms and sent trudging along the roads with no more than they can carry: this is called transfer of population or rectification of frontiers. People are imprisoned for years without trial, or shot in the back of the neck or sent to die of scurvy in Arctic lumber camps: this is called elimination of unreliable elements. Such phraseology is needed if one wants to name things without calling up mental pictures of them. Consider for instance some comfortable English professor defending Russian totalitarianism. He cannot say outright, "I believe in killing off your opponents when you can get good results by doing so." Probably, therefore, he will say something like this:
While freely conceding that the Soviet régime exhibits certain features which the humanitarian may be inclined to deplore, we must, I think, agree that a certain curtailment of the right to political opposition is an unavoidable concomitant of transitional periods, and that the rigors which the Russian people have been called upon to undergo have been amply justified in the sphere of concrete achievement.
The inflated style is itself a kind of euphemism. A mass of Latin words falls upon the facts like soft snow, blurring the outlines and covering up all the details. The great enemy of clear language is insincerity. When there is a gap between one's real and one's declared aims, one turns, as it were instinctively, to long words and exhausted idioms, like a cuttlefish squirting out ink. In our age there is no such thing as "keeping out of politics." All issues are political issues, and politics itself is a mass of lies, evasions, folly, hatred and schizophrenia. When the general atmosphere is bad, language must suffer. I should expect to find--this is a guess which I have not sufficient knowledge to verify--that the German, Russian and Italian languages have all deteriorated in the last ten or fifteen years as a result of dictatorship.
But if thought corrupts language, language can also corrupt thought. A bad usage can spread by tradition and imitation, even among people who should and do know better. The debased language that I have been discussing is in some ways very convenient. Phrases like a not unjustifiable assumption, leaves much to be desired, would serve no good purpose, a consideration which we should do well to bear in mind, are a continuous temptation, a packet of aspirins always at one's elbow. Look back through this essay, and for certain you will find that I have again and again committed the very faults I am protesting against. By this morning's post I have received a pamphlet dealing with conditions in Germany. The author tells me that he "felt impelled" to write it. I open it at random, and here is almost the first sentence that I see: "[The Allies] have an opportunity not only of achieving a radical transformation of Germany's social and political structure in such a way as to avoid a nationalistic reaction in Germany itself, but at the same time of laying the foundations of a cooperative and unified Europe." You see, he "feels impelled" to write--feels, presumably, that he has something new to say--and yet his words, like cavalry horses answering the bugle, group themselves automatically into the familiar dreary pattern. This invasion of one's mind by ready-made phrases (lay the foundations, achieve a radical transformation) can only be prevented if one is constantly on guard against them, and every such phrase anesthetizes a portion of one's brain.
I said earlier that the decadence of our language is probably curable. Those who deny this would argue, if they produced an argument at all, that language merely reflects existing social conditions, and that we cannot influence its development by any direct tinkering with words and constructions. So far as the general tone or spirit of a language goes, this may be true, but it is not true in detail. Silly words and expressions have often disappeared, not through any evolutionary process but owing to the conscious action of a minority. Two recent examples were explore every avenue and leave no stone unturned, which were killed by the jeers of a few journalists. There is a long list of fly-blown metaphors which could similarly be got rid of if enough people would interest themselves in the job; and it should also be possible to laugh the not un- formation out of existence,3 to reduce the amount of Latin and Greek in the average sentence, to drive out foreign phrases and strayed scientific words, and, in general, to make pretentiousness unfashionable. But all these are minor points. The defense of the English language implies more than this, and perhaps it is best to start by saying what it does not imply.
3 One can cure oneself of the not un- formation by memorizing this sentence: A not unblack dog was chasing a not unsmall rabbit across a not ungreen field.
To begin with, it has nothing to do with archaism, with the salvaging of obsolete words and turns of speech, or with the setting-up of a "standard-English" which must never be departed from. On the contrary, it is especially concerned with the scrapping of every word or idiom which has outworn its usefulness. It has nothing to do with correct grammar and syntax, which are of no importance so long as one makes one's meaning clear, or with the avoidance of Americanisms, or with having what is called a "good prose style." On the other hand it is not concerned with fake simplicity and the attempt to make written English colloquial. Nor does it even imply in every case preferring the Saxon word to the Latin one, though it does imply using the fewest and shortest words that will cover one's meaning. What is above all needed is to let the meaning choose the word, and not the other way about. In prose, the worst thing one can do with words is to surrender them. When you think of a concrete object, you think wordlessly, and then, if you want to describe the thing you have been visualizing, you probably hunt about till you find the exact words that seem to fit it. When you think of something abstract you are more inclined to use words from the start, and unless you make a conscious effort to prevent it, the existing dialect will come rushing in and do the job for you, at the expense of blurring or even changing your meaning. Probably it is better to put off using words as long as possible and get one's meaning as clear as one can through pictures or sensations. Afterwards one can choose--not simply accept--the phrases that will best cover the meaning, and then switch round and decide what impressions one's words are likely to make on another person. This last effort of the mind cuts out all stale or mixed images, all prefabricated phrases, needless repetitions, and humbug and vagueness generally. But one can often be in doubt about the effect of a word or a phrase, and one needs rules that one can rely on when instinct fails. I think the following rules will cover most cases:
(i) Never use a metaphor, simile or other figure of speech which you are used to seeing in print.
(ii) Never use a long word where a short one will do.
(iii) If it is possible to cut a word out, always cut it out.
(iv) Never use the passive where you can use the active.
(v) Never use a foreign phrase, a scientific word or a jargon word if you can think of an everyday English equivalent.
(vi) Break any of these rules sooner than say anything barbarous.
These rules sound elementary, and so they are, but they demand a deep change of attitude in anyone who has grown used to writing in the style now fashionable. One could keep all of them and still write bad English, but one could not write the kind of stuff that I quoted in these five specimens at the beginning of this article.
I have not here been considering the literary use of language, but merely language as an instrument for expressing and not for concealing or preventing thought. Stuart Chase and others have come near to claiming that all abstract words are meaningless, and have used this as a pretext for advocating a kind of political quietism. Since you don't know what Fascism is, how can you struggle against Fascism? One need not swallow such absurdities as this, but one ought to recognize that the present political chaos is connected with the decay of language, and that one can probably bring about some improvement by starting at the verbal end. If you simplify your English, you are freed from the worst follies of orthodoxy. You cannot speak any of the necessary dialects, and when you make a stupid remark its stupidity will be obvious, even to yourself. Political language-and with variations this is true of all political parties, from Conservatives to Anarchists--is designed to make lies sound truthful and murder respectable. and to give an appearance of solidity to pure wind. One cannot change this all in a moment, but one can at least change one's own habits, and from time to time one can even, if one jeers loudly enough, send some worn-out and useless phrase--some jackboot, Achilles' heel, hotbed, melting pot, acid test, veritable inferno or other lump of verbal refuse--into the dustbin where it belongs.
Objective consideration of contemporary phenomena compels the conclusion that success or failure in competitive activities exhibits no tendency to be commensurate with innate capacity, but that a considerable element of the unpredictable must invariably be taken into account.
This is a parody, but not a very gross one. Exhibit (3), above, for instance, contains several patches of the same kind of English. It will be seen that I have not made a full translation. The beginning and ending of the sentence follow the original meaning fairly closely, but in the middle the concrete illustrations--race, battle, bread--dissolve into the vague phrase "success or failure in competitive activities." This had to be so, because no modern writer of the kind I am discussing--no one capable of using phrases like objective consideration of contemporary phenomena"--would ever tabulate his thoughts in that precise and detailed way. The whole tendency of modern prose is away from concreteness. Now analyze these two sentences a little more closely. The first contains 49 words but only 60 syllables, and all its words are those of everyday life. The second contains 38 words of 90 syllables: 18 of its words are from Latin roots, and one from Greek. The first sentence contains six vivid images, and only one phrase ("time and chance") that could be called vague. The second contains not a single fresh, arresting phrase, and in spite of its 90 syllables it gives only a shortened version of the meaning contained in the first. Yet without a doubt it is the second kind of sentence that is gaining ground in modern English. I do not want to exaggerate. This kind of writing is not yet universal, and outcrops of simplicity will occur here and there in the worst-written page. Still, if you or I were told to write a few lines on the uncertainty of human fortunes, we should probably come much nearer to my imaginary sentence than to the one from Ecclesiastes.
As I have tried to show, modern writing at its worst does not consist in picking out words for the sake of their meaning and inventing images in order to make the meaning clearer. It consists in gumming together long strips of words which have already been set in order by someone else, and making the results presentable by sheer humbug. The attraction of this way of writing, is that it is easy. It is easier--even quicker, once you have the habit--to say In my opinion it is a not unjustifiable assumption that than to say I think. If you use ready-made phrases, you not only don't have to hunt about for words; you also don't have to bother with the rhythms of your sentences, since these phrases are generally so arranged as to be more or less euphonious. When you are composing in a hurry--when you are dictating to a stenographer, for instance, or making a public speech--it is natural to fall into a pretentious, Latinized style. Tags like a consideration which we should do well to bear in mind or a conclusion to which all of us would readily assent will save many a sentence from coming down with a bump. By using stale metaphors, similes and idioms, you save much mental effort at the cost of leaving your meaning vague, not only for your reader but for yourself. This is the significance of mixed metaphors. The sole aim of a metaphor is to call up a visual image. When these images clash--as in The Fascist octopus has sung its swan song, the jackboot is thrown into the melting pot--it can be taken as certain that the writer is not seeing a mental image of the objects he is naming; in other words he is not really thinking. Look again at the examples I gave at the beginning of this essay. Professor Laski (1) uses five negatives in 53 words. One of these is superfluous, making nonsense of the whole passage, and in addition there is the slip alien for akin, making further nonsense, and several avoidable pieces of clumsiness which increase the general vagueness. Professor Hogben (2) plays ducks and drakes with a battery which is able to write prescriptions, and, while disapproving of the everyday phrase put up with, is unwilling to look egregious up in the dictionary and see what it means. (3), if one takes an uncharitable attitude towards it, is simply meaningless: probably one could work out its intended meaning by reading the whole of the article in which it occurs. In (4), the writer knows more or less what he wants to say, but an accumulation of stale phrases chokes him like tea leaves blocking a sink. In (5), words and meaning have almost parted company. People who write in this manner usually have a general emotional meaning--they dislike one thing and want to express solidarity with another--but they are not interested in the detail of what they are saying. A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus: What am I trying to say? What words will express it? What image or idiom will make it clearer? Is this image fresh enough to have an effect? And he will probably ask himself two more: Could I put it more shortly? Have I said anything that is avoidably ugly? But you are not obliged to go to all this trouble. You can shirk it by simply throwing your mind open and letting the ready-made phrases come crowding in. They will construct your sentences for you--even think your thoughts for you, to a certain extent-and at need they will perform the important service of partially concealing your meaning even from yourself. It is at this point that the special connection between politics and the debasement of language becomes clear.
In our time it is broadly true that political writing is bad writing. Where it is not true, it will generally be found that the writer is some kind of rebel, expressing his private opinions and not a "party line." Orthodoxy, of whatever color, seems to demand a lifeless, imitative style. The political dialects to be found in pamphlets, leading articles, manifestoes, White Papers and the speeches of under-secretaries do, of course, vary from party to party, but they are all alike in that one almost never finds in them a fresh, vivid, home-made turn of speech. When one watches some tired hack on the platform mechanically repeating the familiar phrases--bestial atrocities, iron heel, bloodstained tyranny, free peoples of the world, stand shoulder to shoulder--one often has a curious feeling that one is not watching a live human being but some kind of dummy: a feeling which suddenly becomes stronger at moments when the light catches the speaker's spectacles and turns them into blank discs which seem to have no eyes behind them. And this is not altogether fanciful. A speaker who uses that kind of phraseology has gone some distance towards turning himself into a machine. The appropriate noises are coming out of his larynx, but his brain is not involved as it would be if he were choosing his words for himself. If the speech he is making is one that he is accustomed to make over and over again, he may be almost unconscious of what he is saying, as one is when one utters the responses in church. And this reduced state of consciousness, if not indispensable, is at any rate favorable to political conformity.
In our time, political speech and writing are largely the defense of the indefensible. Things like the continuance of British rule in India, the Russian purges and deportations, the dropping of the atom bombs on Japan, can indeed be defended, but only by arguments which are too brutal for most people to face, and which do not square with the professed aims of political parties. Thus political language has to consist largely of euphemism, question-begging and sheer cloudy vagueness. Defenseless villages are bombarded from the air, the inhabitants driven out into the countryside, the cattle machine-gunned, the huts set on fire with incendiary bullets: this is called pacification. Millions of peasants are robbed of their farms and sent trudging along the roads with no more than they can carry: this is called transfer of population or rectification of frontiers. People are imprisoned for years without trial, or shot in the back of the neck or sent to die of scurvy in Arctic lumber camps: this is called elimination of unreliable elements. Such phraseology is needed if one wants to name things without calling up mental pictures of them. Consider for instance some comfortable English professor defending Russian totalitarianism. He cannot say outright, "I believe in killing off your opponents when you can get good results by doing so." Probably, therefore, he will say something like this:
While freely conceding that the Soviet régime exhibits certain features which the humanitarian may be inclined to deplore, we must, I think, agree that a certain curtailment of the right to political opposition is an unavoidable concomitant of transitional periods, and that the rigors which the Russian people have been called upon to undergo have been amply justified in the sphere of concrete achievement.
The inflated style is itself a kind of euphemism. A mass of Latin words falls upon the facts like soft snow, blurring the outlines and covering up all the details. The great enemy of clear language is insincerity. When there is a gap between one's real and one's declared aims, one turns, as it were instinctively, to long words and exhausted idioms, like a cuttlefish squirting out ink. In our age there is no such thing as "keeping out of politics." All issues are political issues, and politics itself is a mass of lies, evasions, folly, hatred and schizophrenia. When the general atmosphere is bad, language must suffer. I should expect to find--this is a guess which I have not sufficient knowledge to verify--that the German, Russian and Italian languages have all deteriorated in the last ten or fifteen years as a result of dictatorship.
But if thought corrupts language, language can also corrupt thought. A bad usage can spread by tradition and imitation, even among people who should and do know better. The debased language that I have been discussing is in some ways very convenient. Phrases like a not unjustifiable assumption, leaves much to be desired, would serve no good purpose, a consideration which we should do well to bear in mind, are a continuous temptation, a packet of aspirins always at one's elbow. Look back through this essay, and for certain you will find that I have again and again committed the very faults I am protesting against. By this morning's post I have received a pamphlet dealing with conditions in Germany. The author tells me that he "felt impelled" to write it. I open it at random, and here is almost the first sentence that I see: "[The Allies] have an opportunity not only of achieving a radical transformation of Germany's social and political structure in such a way as to avoid a nationalistic reaction in Germany itself, but at the same time of laying the foundations of a cooperative and unified Europe." You see, he "feels impelled" to write--feels, presumably, that he has something new to say--and yet his words, like cavalry horses answering the bugle, group themselves automatically into the familiar dreary pattern. This invasion of one's mind by ready-made phrases (lay the foundations, achieve a radical transformation) can only be prevented if one is constantly on guard against them, and every such phrase anesthetizes a portion of one's brain.
I said earlier that the decadence of our language is probably curable. Those who deny this would argue, if they produced an argument at all, that language merely reflects existing social conditions, and that we cannot influence its development by any direct tinkering with words and constructions. So far as the general tone or spirit of a language goes, this may be true, but it is not true in detail. Silly words and expressions have often disappeared, not through any evolutionary process but owing to the conscious action of a minority. Two recent examples were explore every avenue and leave no stone unturned, which were killed by the jeers of a few journalists. There is a long list of fly-blown metaphors which could similarly be got rid of if enough people would interest themselves in the job; and it should also be possible to laugh the not un- formation out of existence,3 to reduce the amount of Latin and Greek in the average sentence, to drive out foreign phrases and strayed scientific words, and, in general, to make pretentiousness unfashionable. But all these are minor points. The defense of the English language implies more than this, and perhaps it is best to start by saying what it does not imply.
3 One can cure oneself of the not un- formation by memorizing this sentence: A not unblack dog was chasing a not unsmall rabbit across a not ungreen field.
To begin with, it has nothing to do with archaism, with the salvaging of obsolete words and turns of speech, or with the setting-up of a "standard-English" which must never be departed from. On the contrary, it is especially concerned with the scrapping of every word or idiom which has outworn its usefulness. It has nothing to do with correct grammar and syntax, which are of no importance so long as one makes one's meaning clear, or with the avoidance of Americanisms, or with having what is called a "good prose style." On the other hand it is not concerned with fake simplicity and the attempt to make written English colloquial. Nor does it even imply in every case preferring the Saxon word to the Latin one, though it does imply using the fewest and shortest words that will cover one's meaning. What is above all needed is to let the meaning choose the word, and not the other way about. In prose, the worst thing one can do with words is to surrender them. When you think of a concrete object, you think wordlessly, and then, if you want to describe the thing you have been visualizing, you probably hunt about till you find the exact words that seem to fit it. When you think of something abstract you are more inclined to use words from the start, and unless you make a conscious effort to prevent it, the existing dialect will come rushing in and do the job for you, at the expense of blurring or even changing your meaning. Probably it is better to put off using words as long as possible and get one's meaning as clear as one can through pictures or sensations. Afterwards one can choose--not simply accept--the phrases that will best cover the meaning, and then switch round and decide what impressions one's words are likely to make on another person. This last effort of the mind cuts out all stale or mixed images, all prefabricated phrases, needless repetitions, and humbug and vagueness generally. But one can often be in doubt about the effect of a word or a phrase, and one needs rules that one can rely on when instinct fails. I think the following rules will cover most cases:
(i) Never use a metaphor, simile or other figure of speech which you are used to seeing in print.
(ii) Never use a long word where a short one will do.
(iii) If it is possible to cut a word out, always cut it out.
(iv) Never use the passive where you can use the active.
(v) Never use a foreign phrase, a scientific word or a jargon word if you can think of an everyday English equivalent.
(vi) Break any of these rules sooner than say anything barbarous.
These rules sound elementary, and so they are, but they demand a deep change of attitude in anyone who has grown used to writing in the style now fashionable. One could keep all of them and still write bad English, but one could not write the kind of stuff that I quoted in these five specimens at the beginning of this article.
I have not here been considering the literary use of language, but merely language as an instrument for expressing and not for concealing or preventing thought. Stuart Chase and others have come near to claiming that all abstract words are meaningless, and have used this as a pretext for advocating a kind of political quietism. Since you don't know what Fascism is, how can you struggle against Fascism? One need not swallow such absurdities as this, but one ought to recognize that the present political chaos is connected with the decay of language, and that one can probably bring about some improvement by starting at the verbal end. If you simplify your English, you are freed from the worst follies of orthodoxy. You cannot speak any of the necessary dialects, and when you make a stupid remark its stupidity will be obvious, even to yourself. Political language-and with variations this is true of all political parties, from Conservatives to Anarchists--is designed to make lies sound truthful and murder respectable. and to give an appearance of solidity to pure wind. One cannot change this all in a moment, but one can at least change one's own habits, and from time to time one can even, if one jeers loudly enough, send some worn-out and useless phrase--some jackboot, Achilles' heel, hotbed, melting pot, acid test, veritable inferno or other lump of verbal refuse--into the dustbin where it belongs.
Politics and the English Language (continued)
LETTER IN Tribune
Each of these passages has faults of its own, but quite apart from avoidable ugliness, two qualities are common to all of them. The first is staleness of imagery; the other is lack of precision. The writer either has a meaning and cannot express it, or he inadvertently says something else, or he is almost indifferent as to whether his words mean anything or not. This mixture of vagueness and sheer incompetence is the most marked characteristic of modern English prose, and especially of any kind of political writing. As soon as certain topics are raised, the concrete melts into the abstract and no one seems able to think of turns of speech that are not hackneyed: prose consists less and less of words chosen for the sake of their meaning, and more and more of phrases tacked together like the sections of a prefabricated hen-house. I list below, with notes and examples, various of the tricks by means of which the work of prose-construction is habitually dodged:
Dying metaphors. A newly-invented metaphor assists thought by evoking a visual image, while on the other hand a metaphor which is technically "dead" (e.g., iron resolution) has in effect reverted to being an ordinary word and can generally be used without loss of vividness. But in between these two classes there is a huge dump of worn-out metaphors which have lost all evocative power and are merely used because they save people the trouble of inventing phrases for themselves. Examples are: Ring the changes on, take up the cudgels for, toe the line, ride roughshod over, stand shoulder to shoulder with, play into the hands of, an axe to grind, grist to the mill, fishing in troubled waters, on the order of the day, Achilles' heel, swan song, hotbed. Many of these are used without knowledge of their meaning (what is a "rift," for instance?), and incompatible metaphors are frequently mixed, a sure sign that the writer is not interested in what he is saying. Some metaphors now current have been twisted out of their original meaning without those who use them even being aware of the fact. For example, toe the line is sometimes written tow the line. Another example is the hammer and the anvil, now always used with the implication that the anvil gets the worst of it. In real life it is always the anvil that breaks the hammer, never the other way about: a writer who stopped to think what he was saying would be aware of this, and would avoid perverting the original phrase.
Operators, or verbal false limbs. These save the trouble of picking out appropriate verbs and nouns, and at the same time pad each sentence with extra syllables which give it an appearance of symmetry. Characteristic phrases are: render inoperative, militate against, prove unacceptable, make contact with, be subjected to, give rise to, give grounds for, having the effect of, play a leading part (role) in, make itself felt, take effect, exhibit a tendency to, serve the purpose of, etc., etc. The keynote is the elimination of simple verbs. Instead of being a single word, such as break, stop, spoil, mend, kill, a verb becomes a phrase, made up of a noun or adjective tacked on to some general-purposes verb as prove, serve, form, play, render. In addition, the passive voice is wherever possible used in preference to the active, and noun constructions are used instead of gerunds (by examination of instead of by examining). The range of verbs is further cut down by means of the -ize and de- formations, and banal statements are given an appearance of profundity by means of the not un- formation. Simple conjunctions and prepositions are replaced by such phrases as with respect to, having regard to, the fact that, by dint of, in view of, in the interests of, on the hypothesis that; and the ends of sentences are saved from anti-climax by such resounding commonplaces as greatly to be desired, cannot be left out of account, a development to be expected in the near future, deserving of serious consideration, brought to a satisfactory conclusion, and so on and so forth.
Pretentious diction. Words like phenomenon, element, individual (as noun), objective, categorical, effective, virtual, basis, primary, promote, constitute, exhibit, exploit, utilize, eliminate, liquidate, are used to dress up simple statements and give an air of scientific impartiality to biased judgments. Adjectives like epoch-making, epic, historic, unforgettable, triumphant, age-old, inevitable, inexorable, veritable, are used to dignify the sordid processes of international politics, while writing that aims at glorifying war usually takes on an archaic color, its characteristic words being: realm, throne, chariot, mailed fist, trident, sword, shield, buckler, banner, jackboot, clarion. Foreign words and expressions such as cul de sac, ancien regime, deus ex machina, mutatis mutandis, status quo, gleichschaltung, weltanschauung, are used to give an air of culture and elegance. Except for the useful abbreviations i.e., e.g., and etc., there is no real need for any of the hundreds of foreign phrases now current in English. Bad writers, and especially scientific, political and sociological writers, are nearly always haunted by the notion that Latin or Greek words are grander than Saxon ones, and unnecessary words like expedite, ameliorate, predict, extraneous, deracinated, clandestine, subaqueous and hundreds of others constantly gain ground from their Anglo-Saxon opposite numbers.1 The jargon peculiar to Marxist writing (hyena, hangman, cannibal, petty bourgeois, these gentry, lackey, flunkey, mad dog, White Guard, etc.) consists largely of words and phrases translated from Russian, German or French; but the normal way of coining a new word is to use a Latin or Greek root with the appropriate affix and, where necessary, the -ize formation. It is often easier to make up words of this kind (de-regionalize, impermissible, extramarital, non-fragmentary and so forth) than to think up the English words that will cover one's meaning. The result, in general, is an increase in slovenliness and vagueness.
1 An interesting illustration of this is the way in which the English flower names which were in use till very recently are being ousted by Greek ones, snap-dragon becoming antirrhinum, forget-me-not becoming myosotis, etc. It is hard to see any practical reason for this change of fashion: it is probably due to an instinctive turning-away from the more homely word and a vague feeling that the Greek word is scientific.
Meaningless words. In certain kinds of writing, particularly in art criticism and literary criticism, it is normal to come across long passages which are almost completely lacking in meaning.2 Words like romantic, plastic, values, human, dead, sentimental, natural, vitality, as used in art criticism, are strictly meaningless, in the sense that they not only do not point to any discoverable object, but are hardly even expected to do so by the reader. When one critic writes, "The outstanding feature of Mr. X's work is its living quality," while another writes, "The immediately striking thing about Mr. X's work is its peculiar deadness, the reader accepts this as a simple difference of opinion If words like black and white were involved, instead of the jargon words dead and living, he would see at once that language was being used in an improper way. Many political words are similarly abused. The word Fascism has now no meaning except in so far as it signifies "something not desirable." The words democracy, socialism, freedom, patriotic, realistic, justice, have each of them several different meanings which cannot be reconciled with one another. In the case of a word like democracy, not only is there no agreed definition, but the attempt to make one is resisted from all sides. It is almost universally felt that when we call a country democratic we are praising it: consequently the defenders of every kind of régime claim that it is a democracy, and fear that they might have to stop using the word if it were tied down to any one meaning. Words of this kind are often used in a consciously dishonest way. That is, the person who uses them has his own private definition, but allows his hearer to think he means something quite different. Statements like Marshal Pétain was a true patriot, The Soviet Press is the freest in the world, The Catholic Church is opposed to persecution, are almost always made with intent to deceive. Other words used in variable meanings, in most cases more or less dishonestly, are: class, totalitarian, science, progressive, reactionary bourgeois, equality.
2 Example: "Comfort's catholicity of perception and image, strangely Whitmanesque in range, almost the exact opposite in aesthetic compulsion, continues to evoke that trembling atmospheric accumulative hinting at a cruel, an inexorably serene timelessness . . . Wrey Gardiner scores by aiming at simple bullseyes with precision. Only they are not so simple, and through this contented sadness runs more than the surface bittersweet of resignation." (Poetry Quarterly.)
Now that I have made this catalogue of swindles and perversions, let me give another example of the kind of writing that they lead to. This time it must of its nature be an imaginary one. I am going to translate a passage of good English into modern English of the worst sort. Here is a well-known verse from Ecclesiastes:
I returned, and saw under the sun, that the race is not to the swift, nor the battle to the strong, neither yet bread to the wise, nor yet riches to men of understanding, nor yet favor to men of skill; but time and chance happeneth to them all.
Each of these passages has faults of its own, but quite apart from avoidable ugliness, two qualities are common to all of them. The first is staleness of imagery; the other is lack of precision. The writer either has a meaning and cannot express it, or he inadvertently says something else, or he is almost indifferent as to whether his words mean anything or not. This mixture of vagueness and sheer incompetence is the most marked characteristic of modern English prose, and especially of any kind of political writing. As soon as certain topics are raised, the concrete melts into the abstract and no one seems able to think of turns of speech that are not hackneyed: prose consists less and less of words chosen for the sake of their meaning, and more and more of phrases tacked together like the sections of a prefabricated hen-house. I list below, with notes and examples, various of the tricks by means of which the work of prose-construction is habitually dodged:
Dying metaphors. A newly-invented metaphor assists thought by evoking a visual image, while on the other hand a metaphor which is technically "dead" (e.g., iron resolution) has in effect reverted to being an ordinary word and can generally be used without loss of vividness. But in between these two classes there is a huge dump of worn-out metaphors which have lost all evocative power and are merely used because they save people the trouble of inventing phrases for themselves. Examples are: Ring the changes on, take up the cudgels for, toe the line, ride roughshod over, stand shoulder to shoulder with, play into the hands of, an axe to grind, grist to the mill, fishing in troubled waters, on the order of the day, Achilles' heel, swan song, hotbed. Many of these are used without knowledge of their meaning (what is a "rift," for instance?), and incompatible metaphors are frequently mixed, a sure sign that the writer is not interested in what he is saying. Some metaphors now current have been twisted out of their original meaning without those who use them even being aware of the fact. For example, toe the line is sometimes written tow the line. Another example is the hammer and the anvil, now always used with the implication that the anvil gets the worst of it. In real life it is always the anvil that breaks the hammer, never the other way about: a writer who stopped to think what he was saying would be aware of this, and would avoid perverting the original phrase.
Operators, or verbal false limbs. These save the trouble of picking out appropriate verbs and nouns, and at the same time pad each sentence with extra syllables which give it an appearance of symmetry. Characteristic phrases are: render inoperative, militate against, prove unacceptable, make contact with, be subjected to, give rise to, give grounds for, having the effect of, play a leading part (role) in, make itself felt, take effect, exhibit a tendency to, serve the purpose of, etc., etc. The keynote is the elimination of simple verbs. Instead of being a single word, such as break, stop, spoil, mend, kill, a verb becomes a phrase, made up of a noun or adjective tacked on to some general-purposes verb as prove, serve, form, play, render. In addition, the passive voice is wherever possible used in preference to the active, and noun constructions are used instead of gerunds (by examination of instead of by examining). The range of verbs is further cut down by means of the -ize and de- formations, and banal statements are given an appearance of profundity by means of the not un- formation. Simple conjunctions and prepositions are replaced by such phrases as with respect to, having regard to, the fact that, by dint of, in view of, in the interests of, on the hypothesis that; and the ends of sentences are saved from anti-climax by such resounding commonplaces as greatly to be desired, cannot be left out of account, a development to be expected in the near future, deserving of serious consideration, brought to a satisfactory conclusion, and so on and so forth.
Pretentious diction. Words like phenomenon, element, individual (as noun), objective, categorical, effective, virtual, basis, primary, promote, constitute, exhibit, exploit, utilize, eliminate, liquidate, are used to dress up simple statements and give an air of scientific impartiality to biased judgments. Adjectives like epoch-making, epic, historic, unforgettable, triumphant, age-old, inevitable, inexorable, veritable, are used to dignify the sordid processes of international politics, while writing that aims at glorifying war usually takes on an archaic color, its characteristic words being: realm, throne, chariot, mailed fist, trident, sword, shield, buckler, banner, jackboot, clarion. Foreign words and expressions such as cul de sac, ancien regime, deus ex machina, mutatis mutandis, status quo, gleichschaltung, weltanschauung, are used to give an air of culture and elegance. Except for the useful abbreviations i.e., e.g., and etc., there is no real need for any of the hundreds of foreign phrases now current in English. Bad writers, and especially scientific, political and sociological writers, are nearly always haunted by the notion that Latin or Greek words are grander than Saxon ones, and unnecessary words like expedite, ameliorate, predict, extraneous, deracinated, clandestine, subaqueous and hundreds of others constantly gain ground from their Anglo-Saxon opposite numbers.1 The jargon peculiar to Marxist writing (hyena, hangman, cannibal, petty bourgeois, these gentry, lackey, flunkey, mad dog, White Guard, etc.) consists largely of words and phrases translated from Russian, German or French; but the normal way of coining a new word is to use a Latin or Greek root with the appropriate affix and, where necessary, the -ize formation. It is often easier to make up words of this kind (de-regionalize, impermissible, extramarital, non-fragmentary and so forth) than to think up the English words that will cover one's meaning. The result, in general, is an increase in slovenliness and vagueness.
1 An interesting illustration of this is the way in which the English flower names which were in use till very recently are being ousted by Greek ones, snap-dragon becoming antirrhinum, forget-me-not becoming myosotis, etc. It is hard to see any practical reason for this change of fashion: it is probably due to an instinctive turning-away from the more homely word and a vague feeling that the Greek word is scientific.
Meaningless words. In certain kinds of writing, particularly in art criticism and literary criticism, it is normal to come across long passages which are almost completely lacking in meaning.2 Words like romantic, plastic, values, human, dead, sentimental, natural, vitality, as used in art criticism, are strictly meaningless, in the sense that they not only do not point to any discoverable object, but are hardly even expected to do so by the reader. When one critic writes, "The outstanding feature of Mr. X's work is its living quality," while another writes, "The immediately striking thing about Mr. X's work is its peculiar deadness, the reader accepts this as a simple difference of opinion If words like black and white were involved, instead of the jargon words dead and living, he would see at once that language was being used in an improper way. Many political words are similarly abused. The word Fascism has now no meaning except in so far as it signifies "something not desirable." The words democracy, socialism, freedom, patriotic, realistic, justice, have each of them several different meanings which cannot be reconciled with one another. In the case of a word like democracy, not only is there no agreed definition, but the attempt to make one is resisted from all sides. It is almost universally felt that when we call a country democratic we are praising it: consequently the defenders of every kind of régime claim that it is a democracy, and fear that they might have to stop using the word if it were tied down to any one meaning. Words of this kind are often used in a consciously dishonest way. That is, the person who uses them has his own private definition, but allows his hearer to think he means something quite different. Statements like Marshal Pétain was a true patriot, The Soviet Press is the freest in the world, The Catholic Church is opposed to persecution, are almost always made with intent to deceive. Other words used in variable meanings, in most cases more or less dishonestly, are: class, totalitarian, science, progressive, reactionary bourgeois, equality.
2 Example: "Comfort's catholicity of perception and image, strangely Whitmanesque in range, almost the exact opposite in aesthetic compulsion, continues to evoke that trembling atmospheric accumulative hinting at a cruel, an inexorably serene timelessness . . . Wrey Gardiner scores by aiming at simple bullseyes with precision. Only they are not so simple, and through this contented sadness runs more than the surface bittersweet of resignation." (Poetry Quarterly.)
Now that I have made this catalogue of swindles and perversions, let me give another example of the kind of writing that they lead to. This time it must of its nature be an imaginary one. I am going to translate a passage of good English into modern English of the worst sort. Here is a well-known verse from Ecclesiastes:
I returned, and saw under the sun, that the race is not to the swift, nor the battle to the strong, neither yet bread to the wise, nor yet riches to men of understanding, nor yet favor to men of skill; but time and chance happeneth to them all.
Politics and the English Language BY GEORGE ORWELL
MOST PEOPLE WHO BOTHER with the matter at all would admit that the English language is in a bad way, but it is generally assumed that we cannot by conscious action do anything about it. Our civilization is decadent, and our language--so the argument runs--must inevitably share in the general collapse. It follows that any struggle against the abuse of language is a sentimental archaism, like preferring candles to electric light or hansom cabs to aeroplanes. Underneath this lies the half-conscious belief that language is a natural growth and not an instrument which we shape for our own purposes.
Now, it is clear that the decline of a language must ultimately have political and economic causes: it is not due simply to the bad influence of this or that individual writer. But an effect can become a cause, reinforcing the original cause and producing the same effect in an intensified form, and so on indefinitely. A man may take to drink because he feels himself to be a failure, and then fail all the more completely because he drinks. It is rather the same thing that is happening to the English language. It becomes ugly and inaccurate because our thoughts are foolish, but the slovenliness of our language makes it easier for us to have foolish thoughts. The point is that the process is reversible. Modern English, especially written English, is full of bad habits which spread by imitation and which can be avoided if one is willing to take the necessary trouble. If one gets rid of these habits one can think more clearly, and to think clearly is a necessary first step towards political regeneration: so that the fight against bad English is not frivolous and is not the exclusive concern of professional writers. I will come back to this presently, and I hope that by that time the meaning of what I have said here will have become clearer. Meanwhile, here are five specimens of the English language as it is now habitually written.
These five passages have not been picked out because they are especially bad--I could have quoted far worse if I had chosen--but because they illustrate various of the mental vices from which we now suffer. They are a little below the average, but are fairly representative samples. I number them so that I can refer back to them when necessary:
(1) I am not, indeed, sure whether it is not true to say that the Milton who once seemed not unlike a seventeenth-century Shelley had not become, out of an experience ever more bitter in each year, more alien (sic) to the founder of that Jesuit sect which nothing could induce him to tolerate.
PROFESSOR HAROLD LASKI (Essay in Freedom of Expression)
(2) Above all, we cannot play ducks and drakes with a native battery of idioms which prescribes such egregious collocations of vocables as the Basic put up with for tolerate or put at a loss for bewilder.
PROFESSOR LANCELOT HOGBEN (Interglossa)
(3) On the one side we have the free personality; by definition it is not neurotic, for it has neither conflict nor dream. Its desires, such as they are, are transparent, for they are just what institutional approval keeps in the forefront of consciousness; another institutional pattern would alter their number and intensity; there is little in them that is natural, irreducible, or culturally dangerous. But on the other side, the social bond itself is nothing but the mutual reflection of these self-secure integrities. Recall the definition of love. Is not this the very picture of a small academic? Where is there a place in this hall of mirrors for either personality or fraternity?
ESSAY ON PSYCHOLOGY in Politics (New York)
(4) All the "best people" from the gentlemen's clubs, and all the frantic fascist captains, united in common hatred of Socialism and bestial horror of the rising tide of the mass revolutionary movement, have turned to acts of provocation, to foul incendiarism, to medieval legends of poisoned wells, to legalize their own destruction of proletarian organizations, and rouse the agitated petty-bourgeoisie to chauvinistic fervor on behalf of the fight against the revolutionary way out of the crisis.
COMMUNIST PAMPHLET
(5) If a new spirit is to be infused into this old country, there is one thorny and contentious reform which must be tackled, and that is the humanization and galvanization of the B.B.C. Timidity here will bespeak canker and atrophy of the soul. The heart of Britain may lee sound and of strong beat, for instance, but the British lion's roar at present is like that of Bottom in Shakespeare's Midsummer Night's Dream--as gentle as any sucking dove. A virile new Britain cannot continue indefinitely to be traduced in the eyes, or rather ears, of the world by the effete languors of Langham Place, brazenly masquerading as "standard English." When the Voice of Britain is heard at nine o'clock, better far and infinitely less ludicrous to hear aitches honestly dropped than the present priggish, inflated, inhibited, school-ma'am-ish arch braying of blameless bashful mewing maidens.
Now, it is clear that the decline of a language must ultimately have political and economic causes: it is not due simply to the bad influence of this or that individual writer. But an effect can become a cause, reinforcing the original cause and producing the same effect in an intensified form, and so on indefinitely. A man may take to drink because he feels himself to be a failure, and then fail all the more completely because he drinks. It is rather the same thing that is happening to the English language. It becomes ugly and inaccurate because our thoughts are foolish, but the slovenliness of our language makes it easier for us to have foolish thoughts. The point is that the process is reversible. Modern English, especially written English, is full of bad habits which spread by imitation and which can be avoided if one is willing to take the necessary trouble. If one gets rid of these habits one can think more clearly, and to think clearly is a necessary first step towards political regeneration: so that the fight against bad English is not frivolous and is not the exclusive concern of professional writers. I will come back to this presently, and I hope that by that time the meaning of what I have said here will have become clearer. Meanwhile, here are five specimens of the English language as it is now habitually written.
These five passages have not been picked out because they are especially bad--I could have quoted far worse if I had chosen--but because they illustrate various of the mental vices from which we now suffer. They are a little below the average, but are fairly representative samples. I number them so that I can refer back to them when necessary:
(1) I am not, indeed, sure whether it is not true to say that the Milton who once seemed not unlike a seventeenth-century Shelley had not become, out of an experience ever more bitter in each year, more alien (sic) to the founder of that Jesuit sect which nothing could induce him to tolerate.
PROFESSOR HAROLD LASKI (Essay in Freedom of Expression)
(2) Above all, we cannot play ducks and drakes with a native battery of idioms which prescribes such egregious collocations of vocables as the Basic put up with for tolerate or put at a loss for bewilder.
PROFESSOR LANCELOT HOGBEN (Interglossa)
(3) On the one side we have the free personality; by definition it is not neurotic, for it has neither conflict nor dream. Its desires, such as they are, are transparent, for they are just what institutional approval keeps in the forefront of consciousness; another institutional pattern would alter their number and intensity; there is little in them that is natural, irreducible, or culturally dangerous. But on the other side, the social bond itself is nothing but the mutual reflection of these self-secure integrities. Recall the definition of love. Is not this the very picture of a small academic? Where is there a place in this hall of mirrors for either personality or fraternity?
ESSAY ON PSYCHOLOGY in Politics (New York)
(4) All the "best people" from the gentlemen's clubs, and all the frantic fascist captains, united in common hatred of Socialism and bestial horror of the rising tide of the mass revolutionary movement, have turned to acts of provocation, to foul incendiarism, to medieval legends of poisoned wells, to legalize their own destruction of proletarian organizations, and rouse the agitated petty-bourgeoisie to chauvinistic fervor on behalf of the fight against the revolutionary way out of the crisis.
COMMUNIST PAMPHLET
(5) If a new spirit is to be infused into this old country, there is one thorny and contentious reform which must be tackled, and that is the humanization and galvanization of the B.B.C. Timidity here will bespeak canker and atrophy of the soul. The heart of Britain may lee sound and of strong beat, for instance, but the British lion's roar at present is like that of Bottom in Shakespeare's Midsummer Night's Dream--as gentle as any sucking dove. A virile new Britain cannot continue indefinitely to be traduced in the eyes, or rather ears, of the world by the effete languors of Langham Place, brazenly masquerading as "standard English." When the Voice of Britain is heard at nine o'clock, better far and infinitely less ludicrous to hear aitches honestly dropped than the present priggish, inflated, inhibited, school-ma'am-ish arch braying of blameless bashful mewing maidens.
Shark Attack
Rodney Fox Shark Attack
Broadcast 6.30pm on 1/04/2002
Producer: Peter Lindon
In 1963 South Australian spear-fishing champion Rodney Fox was viciously attacked by a shark. Although he suffered near fatal wounds, today Rodney works with sharks which he now sees as ‘beautiful animals’ and strongly supports the protection of one of the most feared predators – the Great White.
RODNEY FOX: December 8, 1963 is a date that I'll never forget. I was the South Australian spear fishing champion, and I was trying to regain my title. Halfway through the competition, I'd swum off shore trying to find a big strong fish.
And I dived down, I saw one.
I was within split seconds of shooting it -- when all of a sudden this huge crunch, and it hit me in the chest, knocked my gun out of my hand, the mask off my face, and I was hurled through the water faster than I've ever swam before.
It was just a nightmare.
In the hospital, they cut my wetsuit off me, and they found that there were these huge gashes and teeth marks, and every rib in my chest had been broken, hole through the shoulder blade, the lung had been punctured.
Another miracle is the main artery from the heart to the stomach was left exposed, together with the spleen. One nick and I would have died. Nothing was missing, so when they stitched me up, and I -- I repaired, and I've really nothing wrong with me today, except the scars.
Death, devil, hell -- that's the level that I put this word 'shark' into in the early days. It was out there, it was the worst thing in the world, but we knew so little about it.
After I had killed four or five great whites on hooks and lines, and we'd studied them for quite a few film crews -- and I had actually built cages and we'd filmed them swimming around, and felt safe, a new world came about, because we were now watching these beautiful animals glide and swim through the water, and we saw them in a different way than anybody had seen them before.
They didn't come up and try and kill us or attack us every time they saw us.
They were just looking for food. And the food that they eat and pursue is the sick, the weak, the slow, the ones with viruses, all the ones that are very plentiful, and so the sharks keep pressure -- something that humans can't do -- on all of the populations. And without them, there'd be a big mess in the oceans.
The protection of the great white shark is a great step forward. We really don't know much about the other sharks. They could be in trouble. But the great white shark is the most feared predator in the world today, and so it gets a lot of publicity. And having them protected and giving a chance to learn more about them is a wonderful thing.
The thing that attacked me many years ago was an incredible spirit or a problem or a death or a fear or something, but now I look back and I realise that the sharks really aren't man-eaters, that they are part of our life, part of our ocean, and they deserve more respect than being just thought of as 'the best shark's a dead shark'.
Broadcast 6.30pm on 1/04/2002
Producer: Peter Lindon
In 1963 South Australian spear-fishing champion Rodney Fox was viciously attacked by a shark. Although he suffered near fatal wounds, today Rodney works with sharks which he now sees as ‘beautiful animals’ and strongly supports the protection of one of the most feared predators – the Great White.
RODNEY FOX: December 8, 1963 is a date that I'll never forget. I was the South Australian spear fishing champion, and I was trying to regain my title. Halfway through the competition, I'd swum off shore trying to find a big strong fish.
And I dived down, I saw one.
I was within split seconds of shooting it -- when all of a sudden this huge crunch, and it hit me in the chest, knocked my gun out of my hand, the mask off my face, and I was hurled through the water faster than I've ever swam before.
It was just a nightmare.
In the hospital, they cut my wetsuit off me, and they found that there were these huge gashes and teeth marks, and every rib in my chest had been broken, hole through the shoulder blade, the lung had been punctured.
Another miracle is the main artery from the heart to the stomach was left exposed, together with the spleen. One nick and I would have died. Nothing was missing, so when they stitched me up, and I -- I repaired, and I've really nothing wrong with me today, except the scars.
Death, devil, hell -- that's the level that I put this word 'shark' into in the early days. It was out there, it was the worst thing in the world, but we knew so little about it.
After I had killed four or five great whites on hooks and lines, and we'd studied them for quite a few film crews -- and I had actually built cages and we'd filmed them swimming around, and felt safe, a new world came about, because we were now watching these beautiful animals glide and swim through the water, and we saw them in a different way than anybody had seen them before.
They didn't come up and try and kill us or attack us every time they saw us.
They were just looking for food. And the food that they eat and pursue is the sick, the weak, the slow, the ones with viruses, all the ones that are very plentiful, and so the sharks keep pressure -- something that humans can't do -- on all of the populations. And without them, there'd be a big mess in the oceans.
The protection of the great white shark is a great step forward. We really don't know much about the other sharks. They could be in trouble. But the great white shark is the most feared predator in the world today, and so it gets a lot of publicity. And having them protected and giving a chance to learn more about them is a wonderful thing.
The thing that attacked me many years ago was an incredible spirit or a problem or a death or a fear or something, but now I look back and I realise that the sharks really aren't man-eaters, that they are part of our life, part of our ocean, and they deserve more respect than being just thought of as 'the best shark's a dead shark'.
Where Home Is by Chris Rose
Fouad sits in the café that looks out over Jaffa Street listening to the sad, sad music playing on an old tape recorder. “Oum Khalsoum”, says one of the other men sitting in the café to nobody in particular. “This is Oum Khalsoum singing”. Fouad takes another sip of sweet mint tea and nods in agreement without saying anything. Fouad’s uncle lives in Egypt,
and every time Fouad visits him, he tells Fouad the story of how he saw the legendary singer at one of her concerts in Cairo in 1970, not long before she died. The song seems to go on forever, and it’s very sad. Fouad thinks it’s beautiful, but he doesn’t want to hear it now. It’s too sad for him. It makes him think of his uncle in Egypt who he hasn’t seen for many years now, and also about the reason why his uncle lives in Egypt while his aunt lived in Lebanon and why he, on the other hand, lives in Jordan, and why he is in Jerusalem now.
Fouad’s father had died a few months ago. After that, Fouad found that there were so many things that he had wanted to ask his father, but had never asked. He realised that he knew very little about his own family, and decided to try and find out more about the place where his father had grown up, and where his grandparents (who had died when he was very young) were from.
He has now spent a couple of days wandering around Jerusalem with an old, torn photograph in his hand. The photograph shows the whole family, his grandparents standing proudly at the centre of a group of four children in front of a house on a busy street. Next to the house there seems to be a garden with what look like cedar or olive trees in it.
Fouad, though, can’t find anywhere in this modern Jerusalem that looks much like the street or the house where the photograph was taken. He feels sadder than the sad song playing in the café, thinking now that he might never find the place where his father had been born and the place where his grandparents had lived until they moved away in 1947.
At first they had gone to Lebanon, then to Jordan and finally to Egypt, always staying with some distant relatives or old friends, trying to find work and a place to live. They left parts of their family, sons, daughters, cousins, uncles and aunts all over the Middle East. Some of them went to France or Britain or America. None of them ever lived in same place for long, never being able to find a home.
Oum Khalsoum keeps on singing her sad, sad song, and Fouad decides to head back home over the bridge into Jordan, hoping the checkpoint hasn’t been closed. He pays a few shekels then goes out onto the street.
As he walks out he accidentally bumps into a young man about his own age hurrying in the opposite direction. They look at each other in the eyes for just one second as they both apologise, then walk on, in different directions along the street.
Yossi is in a hurry because he has to get to Tel Aviv to catch a plane. He thinks he’ll probably take a taxi as it’s the quickest and easiest way, and nobody really likes travelling by bus at the moment. He’s going to Poland to visit to his great aunt who has just moved back to Warsaw at the age of 93. His great aunt has spent most of her life in America, but said that she wanted to come back to the place where she was born before the end of her life. Yossi thinks she’s a silly, sentimental old woman. Surely she’s much better off in America than in Poland! However, he understands her need to find her home again. Yossi’s great aunt was one of the lucky ones in his family. His grandparents, too, had been lucky - in a way. They had stayed in Poland, and were still alive in 1945. Many other people in their family hadn’t survived. After that, they moved to Israel, and had never been back to Poland again. “This is our home now” they said to Yossi.
As he finally gets on the plane, Yossi thinks about his friend Agnieszka who he had met in Poland the last time he had been there. He went to see the small village near Krakow where his grandparents had been brought up, and to see the small Jewish Quarter in the old part of Krakow. He thought it was very beautiful, but was amazed at how different it was from his life in Israel. He found it difficult to imagine how different his grandparents’ lives had been from his own.
He had been hoping to meet up with Agnieszka again, but unfortunately he had received an email from her a couple of months ago. Agnieszka was leaving Poland. In the small town where they were from it was too difficult to get a job, she said. She had managed to get a visa to stay in Britain.
After she had arrived in London, she had written another email to Yossi. “I feel like a refugee” she said. She had found a job working in a café in Finsbury Park in north London, she said. It wasn’t the job she really wanted to do, but it was OK while she studied English and looked for something better. Yossi remembered the name of the café, which was run by Turkish people: “The Oum Khalsoum”.
Fouad is walking back over the bridge to a land which is where he lives but which he doesn’t feel is his home. Yossi is on a plane going from one home to another, more distant, home. Agnieszka is in London, feeling homesick, thinking about making a new home in a country she knows will never be hers, in a place where nobody seems to be at home.
She cleans another table and looks at the people who come into her café: from Bangladesh, Afghanistan, Zimbabwe, Bosnia, Iran, Iraq, Congo, Sri Lanka, people who have looked for refuge from famine, oppression and poverty from all over the world. They spend time listening to Oum Khalsoum singing sad, sad songs and wondering if they will ever go home, and wondering where home is, and thinking that they could all sing songs that are even sadder than those of Oum Khalsoum.
and every time Fouad visits him, he tells Fouad the story of how he saw the legendary singer at one of her concerts in Cairo in 1970, not long before she died. The song seems to go on forever, and it’s very sad. Fouad thinks it’s beautiful, but he doesn’t want to hear it now. It’s too sad for him. It makes him think of his uncle in Egypt who he hasn’t seen for many years now, and also about the reason why his uncle lives in Egypt while his aunt lived in Lebanon and why he, on the other hand, lives in Jordan, and why he is in Jerusalem now.
Fouad’s father had died a few months ago. After that, Fouad found that there were so many things that he had wanted to ask his father, but had never asked. He realised that he knew very little about his own family, and decided to try and find out more about the place where his father had grown up, and where his grandparents (who had died when he was very young) were from.
He has now spent a couple of days wandering around Jerusalem with an old, torn photograph in his hand. The photograph shows the whole family, his grandparents standing proudly at the centre of a group of four children in front of a house on a busy street. Next to the house there seems to be a garden with what look like cedar or olive trees in it.
Fouad, though, can’t find anywhere in this modern Jerusalem that looks much like the street or the house where the photograph was taken. He feels sadder than the sad song playing in the café, thinking now that he might never find the place where his father had been born and the place where his grandparents had lived until they moved away in 1947.
At first they had gone to Lebanon, then to Jordan and finally to Egypt, always staying with some distant relatives or old friends, trying to find work and a place to live. They left parts of their family, sons, daughters, cousins, uncles and aunts all over the Middle East. Some of them went to France or Britain or America. None of them ever lived in same place for long, never being able to find a home.
Oum Khalsoum keeps on singing her sad, sad song, and Fouad decides to head back home over the bridge into Jordan, hoping the checkpoint hasn’t been closed. He pays a few shekels then goes out onto the street.
As he walks out he accidentally bumps into a young man about his own age hurrying in the opposite direction. They look at each other in the eyes for just one second as they both apologise, then walk on, in different directions along the street.
Yossi is in a hurry because he has to get to Tel Aviv to catch a plane. He thinks he’ll probably take a taxi as it’s the quickest and easiest way, and nobody really likes travelling by bus at the moment. He’s going to Poland to visit to his great aunt who has just moved back to Warsaw at the age of 93. His great aunt has spent most of her life in America, but said that she wanted to come back to the place where she was born before the end of her life. Yossi thinks she’s a silly, sentimental old woman. Surely she’s much better off in America than in Poland! However, he understands her need to find her home again. Yossi’s great aunt was one of the lucky ones in his family. His grandparents, too, had been lucky - in a way. They had stayed in Poland, and were still alive in 1945. Many other people in their family hadn’t survived. After that, they moved to Israel, and had never been back to Poland again. “This is our home now” they said to Yossi.
As he finally gets on the plane, Yossi thinks about his friend Agnieszka who he had met in Poland the last time he had been there. He went to see the small village near Krakow where his grandparents had been brought up, and to see the small Jewish Quarter in the old part of Krakow. He thought it was very beautiful, but was amazed at how different it was from his life in Israel. He found it difficult to imagine how different his grandparents’ lives had been from his own.
He had been hoping to meet up with Agnieszka again, but unfortunately he had received an email from her a couple of months ago. Agnieszka was leaving Poland. In the small town where they were from it was too difficult to get a job, she said. She had managed to get a visa to stay in Britain.
After she had arrived in London, she had written another email to Yossi. “I feel like a refugee” she said. She had found a job working in a café in Finsbury Park in north London, she said. It wasn’t the job she really wanted to do, but it was OK while she studied English and looked for something better. Yossi remembered the name of the café, which was run by Turkish people: “The Oum Khalsoum”.
Fouad is walking back over the bridge to a land which is where he lives but which he doesn’t feel is his home. Yossi is on a plane going from one home to another, more distant, home. Agnieszka is in London, feeling homesick, thinking about making a new home in a country she knows will never be hers, in a place where nobody seems to be at home.
She cleans another table and looks at the people who come into her café: from Bangladesh, Afghanistan, Zimbabwe, Bosnia, Iran, Iraq, Congo, Sri Lanka, people who have looked for refuge from famine, oppression and poverty from all over the world. They spend time listening to Oum Khalsoum singing sad, sad songs and wondering if they will ever go home, and wondering where home is, and thinking that they could all sing songs that are even sadder than those of Oum Khalsoum.
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