CHAPTER THE SECOND

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This town of ours is none other than Yardley Parva. Every one is supposed to know that the name means “The Little Sheltered Garden,” and that it was given this name by a mixed commission of Normans and Romans. The Normans, who spoke a sort of French, gave it the first syllable, which is the root of what became jardin, and which still survives in the “backyard” of American literature; meaning not the backyard of an English home, where broken china and glass and other incidental rubbish are thrown to work their way into the bowels of the earth, but a place of flowers and beans and pumpkins. The surname, Parva, represents the influence of the Romans, who spoke a sort of Latin. Philologists are not wholehearted about the “ley,” but the general impression is that it had a narrow escape from being “leigh,” an open meadow; ley, however, is simply “lee,” or a sheltered quarter, the opposite to “windward.” Whatever foundation there may be for this philology—whether it is derived from post hoc evidence or not—every one who knows the place intimately will admit that if it is not literally exact, it should be made so by the Town Council; for it is a town of sheltered little gardens. It has its High Street: and this name, a really industrious philologist will tell you, is derived, not from its occupying any elevated position, but from the fact that the people living on either side were accustomed to converse across the street, and any one wishing to chat with an opposite neighbour, tried to attract his attention with the usual hail of “hie there!”; and as there was much crossquestioning and answering, there was a constant chorus of “hie, hie!” so that it was really the gibe of strangers that gave it its name, only some fool of a purist seven or eight hundred years ago acquired the absurd notion that the word was “High” instead of “Hie!” So it was that Minnesingers' Lane drifted into Mincing Lane, I have been told. It had really nothing to do with the Min Sing district of China, where the tea sold in that street of tea-brokers came from. Philology is a wonderful study; and no one who has made any progress in its by-paths should ever be taken aback or forced to look silly.

The houses on each side of the High Street are many of them just as they were four or five hundred years ago. Some of them are shops with bow fronts that were once the windows of parlours in the days when honest householders drank small ale for breakfast and the industrious apprentices took down the shutters from their masters' shops and began their day's work somewhere about five o'clock in midsummer, graduating to seven in midwinter. There are now some noble plate-glass fronts to the shops, but there are no apprentices, and certainly no masters. Scores of old, red-tiled roofs remain, but they are no more red than the red man of America is red. The roofs and the red man are of the same hue. Sixty years ago, when slate roofs became popular, they found their way to Yardley Parva, and were reckoned a guarantee of a certain social standing. If you saw a slate roof and a cemented brick front you might be sure that there was a gig in the stable at the back. You can now tell what houses had once been tiled by the pitch of the roofs. This was not altered on the introduction of the slates.

But with the innovations of plate-glass shop-fronts and slate roofs there has happily been no change in the gardens at the back of the two rows of the houses of the High Street. Almost every house has still its garden, and they remain gay with what were called in my young days “old-fashioned flowers,” through the summer, and the pear-trees that sprawl across the high dividing walls in Laocoon writhings—the quinces that point derisive, gnarled fingers at the old crabs that give way to soundless snarls against the trained branches of the Orange Pippins—the mulberries that are isolated on a patch of grass—all are to-day what they were meant to be when they were planted in the chalk which may have supplied Roman children with marbles when they had civilized themselves beyond the knuckle-bones of their ancestors' games.

I cannot imagine that much about these gardens has changed during the changes of a thousand years, except perhaps their shape. When the Anglo-Saxon epidemic of church-building was running its course, the three-quarters-of-a-mile of the High Street did not escape. There was a church every hundred yards or so, and some of them were spacious enough to hold a congregation of fifty or sixty; and every church had its church-yard—that is, as we have seen—its garden, equal to the emergencies of a death-rate of perhaps two every five years; but when the churches became dwelling-houses, as several did, the church-yard became the back-yard in the American sense: fruit-trees were planted, and beneath their boughs the burgesses discussed the merits of ale and the passing away of the mead bowl, and shook their heads when some simpleton suggested that the arrow that killed Rufus a few months before was an accidental one. There are those gardens to-day, and the burgesses smoke their pipes over the six-thirty edition of the evening paper that left London at five-fifteen, and listen to stories of Dick, who lost a foot at the ford of the Somme, or of Tom, who got the M.C. after Mons, and went through the four years without a scratch, or of Bob, who had his own opinion about the taking of Jerusalem, outside which two fingers of his left hand are still lying, unless a thieving Arab appropriated them.

There the chat goes on from century to century on the self-same subject—War, war, war. It is certain that men left Yardley Parva for the First Crusade; one of the streets that ran from the Roman road to the Abbey which was founded by a Crusading Norman Earl, returns the name that was given to it to commemorate the capture of Antioch when the news reached England a year or so after the event; and it is equally certain that Yardley men were at Bosworth Field, and Yardley men at Tournai in 1709 as well as in 1918—at the Nile in 1798 as well as in 1915; and it is equally certain that such of them as came back talked of what they had seen and of what their comrades had done. The tears that the mothers proudly shed when they talked of those who had not come home in 1918 were shed where the mothers of the Crusaders of 1099 had knelt to pray for the repose of the souls of their dear ones whose bones were picked by the jackals of the Lebanon. On the site of one of the churches of the market-place there is now built a hall of moving pictures—Moving Pictures—that is the whole sum of the bustle of the thousand years—Moving Pictures. The same old story. Life has not even got the instinct of the film-maker: it does not take the trouble to change the scenes of the exploits of a thousand—ten thousand—years ago, and those of to-day. Egypt, the Nile, Gaza, Jerusalem, Damascus, Mesopotamia. Moving pictures—walking shadows—walking about for a while but all having the one goal—the Garden of Peace; those gardens that surrounded the churches, where now the apple-trees bloom and fruit and shed their leaves.

These little irregular back-gardens are places of enchantment to me and I think I like those behind the smallest of the shops, which are not more than thirty feet square, rather than those higher up the town, of a full acre or two. These bigger ones do not suggest a history beyond the memory of the gardeners who trim the hedges and cut the grass with a machine. The small and irregular ones suggest a good deal more than a maiden lady wearing gloves, with a basket on her arm and a pair of snipping shears opening its jaws to bite the head off every bloom that has a touch of brown on its edge. But with me it is not a matter of liking and not liking; it is a matter of liking and liking better—it is the artisan's opinion of rival beers (pre-war): all good but some better than others. The little gardens behind the shops are lyrics; the big ones behind the villas are excellent prose, and excellent prose is frequently quite as prosy as excellent verse. They are alive but they are not full of the joy of living. The flowers that they bring forth suggest nice girls whose education is being carefully attended to by gentlemen who are preparing for Ordination. Those flowers do not sing, and I know perfectly well that if they were made to sing it would be to the accompaniment of a harmonium, and they would always sing in tune and in time: but they would need a conductor, they would never try anything on their own—not even when it was dark and no one would know anything about it. Somehow these borders make me think of the children of Blundell's Charity—-a local Fund which provides for the education on religious principles of fifteen children born in wedlock of respectable parents. They occupy a special bench in the aisle of one of the churches, and wear a distinctive dress with white collars and cuffs. They attend to the variations of the Sacred Service, and are always as tidy and uninteresting as the borders in the wide gardens behind the houses that are a quarter of a mile beyond the gardens of the High Street shops.

But it is in these wide gardens that the earliest strawberries are grown, and to them the reporter of the local newspaper goes in search of the gigantic gooseberry or the potato weighing four pounds and three ounces; and that is what the good ladies with the abhorred shears and the baskets—the Atropussiies, in whose hands lie the fates of the fruits as well as of the flowers—consider the sum of high gardening: the growth of the abnormal is their aim and they are as proud of their achievement as the townsman who took to poultry was of his when he exhibited a bantam weighing six pounds.

Now I hold that gardens are like nurseries—nurseries of children, I mean—and that all make an appeal to one's better nature, that none can be visited without a sense of pleasure even though it may be no more than is due to the anticipation of getting away from them; therefore, I would not say a word against the types which I venture to describe; as I have found them. The worst that I can say of them is that they are easily described, and the garden or the girl that can be described will never be near my heart. Those gardens are not the sort that I should think of marrying, though I can live on the friendliest of terms with them, particularly in the strawberry season. They do not appeal to the imagination as do the small and irregular ones at the rear of the grocer's, the stationer's, the fishmonger's, the bootmaker's, or the chymist's—in this connection I must spell the name of the shop with a y: the man who sits in such a garden is a chymist, not a chemist. I could not imagine a mere chemist sniffing the rosemary and the tansy and the rue au naturel: the mere chemist puts his hand into a drawer and weighs you out an ounce of the desiccated herbs.

In one of Mr. Thomas Hardy's earlier novels—I think it is The Mayor of Casterbridge—he describes a town, which is very nearly as delightfully drowsy as our Yardley Parva, as one through which the bees pass in summer from the gardens at one side to those at the other. In our town I feel sure that the bees that enter among the small gardens of sweet scents and savours at one end of the High Street, never reach the gardens of the gigantic gooseberry at the other; unless they make a bee-line for them at the moment of entering; for they must find their time fully occupied among the snapdragons of the old walls, the flowers of the veronica bushes, and the buttons of the tall hollyhocks growing where they please.

When I made, some years ago, a tour of Wessex, I went to Casterbridge on a July day, and the first person I met in the street was an immense bee, and I watched him hum away into the distance just as Mr. Hardy had described him. He seemed to be boasting that he was Mr. Hardy's bee, just as a Presbyterian Minister, who had paid a visit to the Holy Land to verify his quotations, boasted of the reference made to himself in another Book.

“My dear friends,” said he, “I read in the Sacred Book the prophecy that the land should be in heaps; I looked up from the page, and there, before my very eyes, lay the heaps. I read that the bittern should cry there; I looked up, and lo! close at hand stood the bittern. I read that the Minister of the Lord should mourn there: I was that Minister.”

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But there are two or three gardens—now that I come to think of it there are not so many as three—governed by the houses of the “better-class people” (so they were described to me when I first came to Yardley Parva), which are everything that a garden should he. Their trees have not been cut down as they used to be forty years ago, to allow the flowers to have undisputed possession. In each there are groups of sycamore, elm, and silver birch, and their position makes one feel that one is on the border of a woodland through which one might wander for hours. There are tulip-trees, and a fine arbutus on an irregular, slightly-sloping lawn, and a couple of enormous drooping ashes—twenty people can sit in the green shade of either. In graceful groups there are laburnums and lilacs. Farther down the slope is a well-conceived arrangement of flower-beds cut out of the grass. Nearly everything in the second of these gardens is herbaceous; but its roses are invariably superb, and its lawn with a small lily pond beside it, is ideal. The specimen shrubs on a lower lawn are perfect as regards both form and flower, and while one is aware of the repose that is due to a thoughtful scheme of colour, one is conscious only of the effect, never being compelled to make use of the word artistic. As soon as people begin to talk of a garden being artistic you know that it has failed in its purpose, just as a portrait-painter has failed if you are impressed with the artistic side of what he has done. The garden is not to illustrate the gardener's art any more than the portrait is to make manifest the painter's. The garden should be full of art, but so artfully introduced that you do not know that it is there. I have heard a man say as if he had just made a unique discovery,—

“How extraordinary it is that the arrangements of colour in Nature are always harmonious!”

Extraordinary!

Equally extraordinary it is that

“Treason doth never prosper; what's the reason?

For if it prospers none dare call it treason.”

All our impressions of harmony in colour are derived from Nature's arrangements of colour, and when there is no longer harmony there is no longer Nature. Is it marvellous that Nature should be harmonious when all our ideas of harmony are acquired from Nature? A book might be written on this text—I am not sure that several books have not been written on it. It is the foundation of the analysis of what may be called without cant, “artistic impression.” It is because it is so trite that I touch upon it in my survey of a Garden of Peace. We love the green of the woodland because it still conveys to us the picture of our happy home of some hundreds of thousands of years ago. We find beauty in an oval outline because our ancestors of the woodland spent some happy hours bird-nesting. Hogarth's line of beauty is beautiful because it is the line of human life—the line that Nature has ever before her eyes—the line of human love. The colours of countless fruits are a delight to us because we have associated those colours for tens of thousands of years with the delight of eating those fruits, and taking pleasure in the tints of the fruits; we take pleasure in the tints of flowers because they suggest the joys of the fruits. The impression of awe and fear that one of Salvator Rosa's “Rocky Landscapes” engenders is due to our very distant ancestors' experience of the frequent earthquakes that caused these mighty rocks to be flung about when the surface of our old mother Earth was not so cool as it is to-day, as well as to the recollection of the very, fearsome moments of a much less remote ancestor spent in evading his carnivorous enemies who had their dens among these awful rocks. From a comparatively recent pastoral parent we have inherited our love for the lawn. There were the sheep feeding in quiet on the grass of the oasis in the days when man had made the discovery that he could tame certain animals and keep them to eat at his leisure instead of having to spend hours hunting them down.

But so deep an impression have the thousands of years of hunting made upon the race, that even among the most highly civilised people hunting is the most popular of all enjoyments, and the hunter is a hero while the shepherd is looked on as a poor sort.

Yes, there are harmonies in Nature, though all makers of gardens do not appreciate them; the discordant notes that occasionally assail a lover of Nature in a garden that has been made by a nurseryman are due to the untiring exertions of the hybridiser. It is quite possible to produce “freaks” and “sports” both as regards form and colour—“Prodigious mixtures and confusion strange.” I believe that some professional men spend all their time over experiments in this direction, and I have no doubt that some of them, having perpetrated a “novelty,” make money out of it. Equally sure I am that the more conscientious, when they bit upon a novelty that they feel to be offensive, destroy the product without exhibiting it. They have not all the hideous unscrupulousness of Dr. Moreau—the nearest approach to a devil trying to copy the Creator who made man in His own image. Dr. Moreau made things after his own likeness. He was a great hybridiser. (Mr. H. G. Wells, after painting that Devil for us, has recently been showing his skill in depicting the God.)

Now, every one knows that the garden of to-day owes most of its glory to the judicious hybridiser, but I implore of him to be merciful as he is strong. I have seen some heartrending results of his experiments which have not been suppressed, as they should have been. I am told that a great deal in the way of developing the natural colours of a certain group of flowers can be done by the introduction of chemicals into their drinking water. It is like poisoning a well! By such means I believe an unscrupulous gardener could turn a whole border into something resembling a gigantic advertisement card of aniline dyes.

But I must be careful in my condemnations of such possibilities. There is a young woman named Rosamund, who is Dorothy's first-born, and she is ready at all seasonable times to give me the benefit of her fourteen years' experiences of the world and its ways, and she has her own views of Nature as the mother of the Arts. After listening to my old-fashioned railings against such chromatic innovations as I have abused, she maintained a thoughtful silence that suggested an absence of conviction.

“Don't you see the awfulness of re-dying a flower—the unnaturalness of such an operation?” I cried.

“Why, you old thing, can't you see that if it's done by aniline dyes it's all right—true to Nature and all that?”

“Good heavens! that a child of mine—Dorothy, did you hear her? How can you sit there and smile as if nothing had happened? Have you brought her up as an atheist or what?”

“Every one who doesn't agree with all you say isn't a confirmed atheist,” replied Dorothy calmly. “As for Rosamund, what I'm afraid of is that, so far from being an atheist, she is rather too much in the other direction—like 'Lo, the poor Indian.' She'll explain what's in her mind if you give her a chance What do you mean, my dear, by laying the emphasis on aniline dyes? Don't you know that most of them are awful?”

“Of course I do, darling,” said Rosamund. “But I've been reading about them, and so—well, you see, they come from coal tar, and coal is a bit of a tree that grew up and fell down thousands of years ago, and its burning is nothing more than its giving back the sunshine that it—what is the word that the book used?—oh, I remember—the sunshine that it hoarded when it was part of the forest. Now, I think that if it's natural for flowers to be coloured by the sunshine it doesn't matter whether it's the sunshine of to-day or the sunshine of fifty thousand years ago; it comes from the sun all the same, and as aniline dyes are the sunshine of long ago it's no harm to have them to colour flowers now.”

“Daddy was only complaining of the horrid ones, my dear,” said the Mother, without looking at me. “Isn't that what you meant?” she added, and now she looked at me, and though I was suspicious that she was smiling under her skin, I could not detect the slightest symptom of a smile in her voice.

“Of course I meant the hideous ones—magenta and that other sort of purple thing. I usually make my meaning plain,” said I, with a modified bluster.

“Oh,” remarked Rosamund, in a tone that suggested a polite negation of acquiescence.

There was another little silence before I said,—“Anyhow, it was those German brutes who developed those aniline things.”

“Oh, yes; they could do anything they pleased with coal tar,” said Dorothy. “But the other sort could do anything he pleased with the Germans—and he did.”

“The other sort?” said I inquiringly.

“Yes, the other sort—the true British product—the Jack Tar,” said Dorothy; and Rosamund, who has a friend who is a midshipman in the Royal Navy, clapped her hands and laughed.

It is at such moments as this that I feel I am not master in my own house. Time was when I believed that my supremacy was as unassailable as that of the Lord High Admiral; but since those girls have been growing up I have come to realise that I have been as completely abolished as the Lord High Admiral—once absolute, but now obsolete—and that the duties of office are discharged by a commission. The Board of Admiralty is officially the Lords Commissioners for discharging the office of Lord High Admiral.

I hope that this mÉnage will be maintained. The man who tries to impose his opinions upon a household because he is allowed to pay all the expenses, is—anyhow, he is not me.



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