BUT it is not only nor indeed even chiefly through meeting new types of people that we can arrive at that angle of detachment. We need an entire change of setting. It would be hard to overrate the subconscious influence on us of our surroundings. A sudden sensation of taste and smell will recall to us a cycle of associated memoirs. The glimpse through a railway-carriage window of a gabled roof, a square church tower, a particular shade of sunlight on red brick will open the pages of a chapter whose existence we had almost forgotten; will reveal in relief, in perspective—with an objective reality that at the time it did not hold for us—a facet of the past. The obvious, the superficial reflection on such occurrences would be an expression of surprise that so trivial an affair as the taste of cocoa, the smell of wet stone, the glimpse of a square-towered church, should become a window opening on childhood. But probably nearer to the truth would be the assumption that these moments of sight and taste of which, at the time, we hardly more than recognised the existence, and to which we attached no value, were an essential part of the framework of our thoughts, and our hopes, and our actions, and that it was from them that what we have come to regard in our lives as personal and important drew its nourishment, its colour, and its direction.

As the novels of Alphonse Daudet are steeped in the sunshine of the south and the simple, lazy kindliness that it engenders, so are Maupassant’s stories children of the mud, the lights, the rain, the gallantries of Paris. And so over the poetry and novels of Thomas Hardy lies the deep shadow of the Wessex countryside. And among these many influences that tend, unknown to us, to make our lives gay or sombre, deep or shallow, or it would be more true perhaps to say that tend to accentuate in us those characteristics that are gay or sombre, deep or shallow, there are few that touch us more surely or more closely than that of the nature of the buildings, the streets, the shops, the churches among which we live.

It would be worth while, indeed, discussing whether the classical scholar of some old foundation derives the sense of antiquity, that knowledge that we are parts of a pattern, the threads of which pass out on either side of us, which forms so human, so tolerant a basis for his ideas and his actions, more from the study of Homer and Catullus than from the tranquillising presence on every side of him of old buildings, gothic arches and cloisters, and curious quadrangles. British administration, whatever may have been said against it, has been credited always with a genial tolerance, an admirable refusal to be perturbed by trifles, a policy of “let it pass.” A capital social lubricant, this characteristic. And I wonder whether it would be too fanciful to attribute a part, at any rate, of this placidity in the class from which the majority of officers and civil servants are drawn, to the mellowing influence of the school buildings among which are spent their most impressionable years. Some such effect there must be, I am very sure. A mind continually encountering the survivals of early generations acquires a detachment from the immediate present. A boy who, on his way from one classroom to another, from the dayroom to the cricket field, and the library to the chapel, has always before him the silent grey-brown witnesses of continuity and tradition, cannot help thinking often consciously, and unconsciously times without number: “all this was going on two hundred years ago and, without any very considerable alteration, it will be going on two hundred hence.”

That sensation we rarely if ever get in London. I doubt if there is in the road I live in a single brick that is fifty-five years old. Twenty years ago Golders Green did not exist. I can barely picture this North End road as it was in the spring of 1907 when my father decided to build a house here, and to call it Underhill. A muddy, unpaved affair it was, with fields on either side of it as far as I remember: and it would remain so, we were told, for the Hampstead tube was in process of construction, and it would be impossible to build houses on the narrow gap between it and the road. Land’s End for a while it seemed to us after our nine years in a dingy West Hampstead thoroughfare. There were no shops then at the Cross Roads. We had to walk across the heath to Hampstead. Indeed, only one train in every four or six came through to Golders Green. Hampstead, Highgate, Golders Green; that was the electric sign then on the Euston platform. There were no non-stops. And one had to decide whether it would be quicker and pleasanter to walk across the heath or to wait for a Golders Green train.

And then the Garden Suburb came, and the builders discovered that there was ample room for a row of houses between the railway and the road, and Smith and Boots and Sainsbury added each of them another branch to their activities. And ’buses ceased to stop at Child’s Hill and tubes at Hampstead. And within four years the cross roads became as good a spot as Piccadilly for the unwary to be run over.

When I came home at the end of the first term at my prep. I could hardly recognise the North End Road. I believe that had I been transported there by a motor in the night I should not have known where I was, any more than I should have known where I was had I found myself in the spring of 1920 suddenly beside Potije Chateau on the road from Ypres to Zonnebeke. Golders Green sprang into life as speedily and as haphazardly as have the devastated areas. That immense hippodrome that confronts you as you turn to the left out of the station; they had not begun work on it when I went back to Sherborne in the autumn of 1913; but the curtain rang up on Boxing-Day. In less than three months they built it; working from start to finish against the clock. They had no time to instal a heating apparatus. On that first evening we shivered in greatcoats; but within a week the fires were banked up. The heat dripped on to us from the ceiling. An achievement, undoubtedly. Golders Green is a comfortable and commodious spot. There is the heath for exercise; the hippodrome for amusement; there are barbers and baths and cinemas, and trams and tubes and ’buses, and a taxi rank; an illuminated clock at the cross roads; two restaurants. A place, I am told, where one may dance, that even.

An impressive outpost, doubtless of Newer London: a fine tribute to progress, and mechanical invention. But there is one thing that, search how you may, you will never find at Golders Green. You will not find anywhere any indication that the world was inhabited a hundred years ago.

Nor will you find any such indication at Tottenham, or Balham, or at Upper Clapton; new streets; new shops; new houses; travel by what road you choose through any of the London suburbs: you will find everywhere the same cross-roads, with their policemen, and their electric cars; and the white sham stone-fronted cinema; and the local empire, and the long stretch of detached and semi-detached villas, with their garages and garden plots, very pleasant, very clean, very comfortable: cheap amusement and good amusement; such as grandparents knew not. But that sense of antiquity; those reminders in the gables at street corners of other men and other fortunes, that is lost to us. The old streets and the old buildings are being swept away. History in London can only be found in the places where one cannot afford to live, and the places where one would not want to live. We have no eternal landscape to speak to us of the passage of human life. We have no equivalent for the Sussex Downs; the Downs that have hardly altered since the Romans camped on them. We have neither the modesty nor the pride of heritage. Family feeling dies where there are no family seat and no family possessions. We are parvenus, we townsfolk. It is only through a detaching of ourselves from our surroundings, through travel, or the company of books, most particularly, perhaps, through moments of intense self-realisation when we are in touch with eternal instincts or eternal forces, that we recover our sense of values, that we see ourselves simply as part of a pattern, a footfall in the sound of passage.

And it may have been that it was in search of some such amulet that Clifford Bax and I set out last April across the North Sea to Norway.

A long journey it was, with a good twenty-four hours of open sea, twenty-four hours in which to wonder what crazed splendour, what folly of irresponsible ambition, urged our Viking forefathers to desert their sheltered fjords in those flat-bottomed, high-prowed craft of theirs. A long unheroic journey on my part, at any rate. I lay supine and neither stirred nor ate, consoling myself as best I might with Geoffrey Moss’s entertaining if scandalous Sweet Pepper.

It was worth it, though, that harassing, exacting journey, for the sake of the two hours of quiet passage in the late evening through the fjords. There is no country that welcomes its guests less ostentatiously than Norway does, that stands more simply on its own attainments. There is no parade of harbours and high buildings and imposing statues. Just the long stretches of receding waterways, motionless, many coloured waterways, green and grey and purple; a purple that shimmers now and then to the rich transparent red of Homer’s sea, Homer’s wine-coloured midland sea; the fading waterways, and about them the long, endless, low-crested circling hills. Hardly a sign of life, only now and then below the promontories of rock, a warning light, and near it on the land some small wooden house.

But then Norway is an empty country. It is as large as England, and it has a population of three million. You will see no towns on the long fourteen-hour journey from Bergen to Christiania. Only here and there a collection of scattered hutments and the long stretches of the fjords. And it is remarkable that so small a nation should have made such a considerable contribution to the literature of Europe. A useless, hopeless task it must sometimes seem, we felt, to the young Norwegian. “I am writing,” one can imagine him to say, “in a language that only three million people are able to understand. It is possible that my work may be some day read and appreciated in the foreign cities of Europe; but it will be read there in translation; and the phrasing, the colour, the rhythm, on which I have expended so much labour, will have gone out of it. If only I had been born in America!”

And then we remembered that the population of England when Shakespeare wrote was little greater than that of Norway is to-day; that it seemed worth while to him to write for three million people; that these, as all other, things are relative; that it would be impossible without detachment, without a sense of the eternal values, to produce a masterpiece; and that such a one as BjÖrnson would know out of the direct simplicity of his nature, that it is enough to plough one’s furrow to the end.

We were bound for Finse and its winter sports, and it was exciting to look for the first signs of ice and snow at the edge of the water, to watch at each halt on the way the fall of the thermometer. We seemed to get little colder, though, for that is the charm of Norway. The sun shines out of a blue sky, and your face tingles with the glare that the snow flings up on it. It is a pity, though, that you have to wear darkened glasses to protect your eyes. It robs the sky of its colour, and if such a phrase may be permitted, it seems to bleach the snow, with the effect of an unreal twilight. Only now and again in glimpses, through windows for the most part, can one see the landscape as it really is.

But then it is not for the sake of its scenery that one goes to Finse; the long sheets of snow have, it is true, a certain remote, cold loveliness of their own; but the continued sight of snow is apt by itself to be depressing. Finse is not, shall we say, an ideal place for the ancient and infirm; it would be unexhilarating for them to sit all day long, looking out of the drawing-room window. Finse is very nearly the highest place on the Bergen-Christiania railway. It is well above the vegetation line. It consists of a station, an hotel, and some half-dozen hutments. It is quite simply an encampment among the hills, and from the windows of the hotel one sees nothing but snow and mountains.

But one does not go to Finse to sit in drawing-rooms, not, that is to say, till nightfall, when one collapses among cushions, exhausted after a day on skies. Finse is the greatest place in the world for ski-ing; in its season, that is to say, in March and April and the first weeks of May. During the Swiss season it is a place of fog and mist and some three hours’ precarious sunlight, but the snow is fine and hard there, when MÜrren has become a bog.

We went there as novices, Clifford Bax and I. And it is a good place, Finse, for the novice. It is built beside a lake, frozen over for the great part of the year; and the banks that slope gently down to it provide a scale of ascending difficulty. For the first morning one stumbles helplessly within a hundred yards of the hotel on a slope with a gradient of something, I suppose, like one in fifty. By the afternoon one has come to master it. And as one returns tired to one’s tea, one looks southwards beyond the lake and one says, “I think we’ll try that slope to-morrow.”

One cannot, or at least we could not, cease in six days to be a novice. But we managed to amuse ourselves thoroughly climbing up slopes and falling down them. Perhaps, had we been more proficient, we should have enjoyed it less. A thing ceases to be exciting when you are certain of success, and you avoid the slope that you have been down ten times in succession without disaster. How thrilling a bicycle was in those early days. How proud we were to free-wheel down a hill, how we looked forward to the day when we should be able to mount and unmount without damage to our trousers. How we envied the blasÉ tradesboy who just seemed to pick up the handlebars and jump on the machine. And now that we can bicycle, the last thing that we would do would be to ride on one for pleasure.

But then that is hardly a fair parallel. Cycling is a form of athletics limited in scope by cross-roads and motor regulations and police. You cannot enlarge your craft. But ski-ing must be like cricket, and must be always new. As soon as you can do a thing one way, you learn to do it in another. We spend hours in the nets at school learning to drive a straight half volley over the bowler’s head or past midoff along the grass. And then as soon as we have got it, we start trying to turn it to mid-wicket, so that I do not suppose we could drive the thing straight now even if we wanted, any more than Nevinson, an accurate draughtsman and a prizewinner at the Slade, could draw a horse that would resemble a photograph of one.

And at Finse there must be always new worlds to conquer. And always there must be that splendid compensating sense of exhilaration that comes from a complete physical fitness. It would be hard to imagine a more healthy life. There is no bar there; and no late hours. You are in bed an hour before midnight. And you wake wonderfully fit to the most colossal breakfast that I have ever seen.

In the middle of the dining-room there is a large table on which is spread an incredibly diverse collection of dishes. We counted them one morning: there were forty-eight; all manner of cold meats, all manner of cheese, all manner of hors d’oeuvres. And there are shrimps, and prawns, and lobsters, and fish puddings; there are egg omelettes and ham omelettes, curious cold game, and fruit and jams and marmalade. Breakfast was a very great adventure. You were, in addition, served with a boiled egg and a beaker of cold milk. We never quite knew whether it was intended to be drunk as a cocktail or a liqueur or a table wine. We tried it in all three ways; and it was in each equally delightful. The Norwegian breakfast is the finest type of meal that I have, I think, ever eaten; and I was delighted to find certain personal peculiarities endorsed by Norwegian taste. I always, when I lunch at home, eat marmalade and cheese, preferably gruyÈre cheese, together. It is a protective taste developed gradually since the days when I was made to eat at my preparatory school milk-pudding every day for four years. It was doubtless a very admirable form of discipline. But I have not since eaten any pudding of any kind, and have instead developed what is, my brother tells me, a disgusting habit, but one which the Norwegian would apparently approve. At any rate, they place side by side on their middle table mountains of gruyÈre cheese and basins of marmalade. Coldt bord they called it, that centre table, and we thought of inscribing a ballad to it, in whose every line should be the name of some new dish.

A noble foundation, that breakfast, for a long day in the open; and when evening came one was glad to sit and talk quietly; one’s brain fresh and one’s body tired. It is no part of my intention here—and I half hope that it never will be—to draw pictures of my friends. Enough to say that the evenings passed very happily in such casual intermittent talk as can only be exchanged between two friends who know each other so well as to have left scarcely a secret from one another.

It is an eight-hour journey from Finse to Christiania. But eight-hour journeys abroad seem of no more matter than a week-end run to Brighton. We are frightened in London of any place that we cannot find on a tube map. I have never once been to watch a county match at Leyton. “Heavens,” I say, “but that’s miles away. I could not think of going there.” It never even occurred to me three years ago to watch the third day of the Middlesex and Yorkshire match at Bradford, although the championship was at stake there. And yet it would not have been, I expect, such a terribly fatiguing affair. I could have probably caught a train at about ten o’clock. I should have read a couple of novels for review, lunched on the way, and arrived at the ground shortly after two. I should have seen the finish of the match. By six o’clock I should have been in the train, reviewing one novel before dinner, the other after; and arriving at home certainly before midnight.

I remember being considerably surprised last summer when an officer on leave from India told me that he was going to spend a week in Blackpool to see the D’Oyly Carte Company in the Gilbert and Sullivan Operas. “Lord,” I said, “what, all the way up there?” “It doesn’t seem very far,” he answered, “when you’ve come all the way from Poona.” Certainly we did not feel that we were undertaking a great enterprise when we left behind us the mountains and the snow of Finse.

It is a good city, Christiania, clean and fresh and compact, with broad streets, and an honest sprinkling of restaurants and cafÉs: a good city, shall we say, to spend four days in.

After four days one begins to weary of shop windows, and museums, and public buildings, and a drifting in and out of cafÉs. But for four days it was very pleasant to watch the stir of life in a foreign capital. Very different from ours, it would seem, the framework of their routine: their mealtimes, for example. You will find a notice outside the principal restaurants: Breakfast, 11-2; dinner, 2-6; supper, 8-11. Between the hours of six and eight, that is to say, you cannot get a solid meal, and the big meal of the day is taken at about half-past three. The restaurants were quite empty at two o’clock when we used to begin our lunch.

As far as we could gather Norway knows not our heavy half-past one lunch, over which so much profitable business is transacted. When the Norwegian sits down before a table with a menu and a wine list in front of him, his day’s work is finished. If he feels any need for casual sustenance he goes into a cafÉ and has a snack.

Christiania has made a speciality of the snack. I suppose that any stranger abroad must wonder who do the work and when they do it. There are never anywhere any signs of industry. The Italian who is taken to the Oval on a weekday would certainly wonder how ten thousand workmen could afford to watch cricket on a Monday. Indeed, I have yet to discover how they can. If they are in work they should be in factories and offices, and if out of work one would assume them to be penniless. There is no Oval in Christiania, but there are, as I said, an honest number of cafÉs; and the coldt bord is spread in ample welcome. Not quite as amply perhaps as in Finse. But still amply enough to make an Englishman a little ashamed of the hospitality that the Bodega offers to its guests. Great trays of various hors d’oeuvres, cold meats and cold poached eggs, and cheese sandwiches: sandwiches that are a vast improvement on our own; with the cheese or meat arranged on one and not between two slices of bread, so that you can see what you are buying and cannot be deceived into the purchase of a ham sandwich entirely composed of fat.

Perhaps I am talking too much of the pleasures of the table, but food has a large share in the right ordering of a holiday. A sense of moral indignation is not a characteristic with which we should be inclined to associate the engaging and fantastic personality of Mr Norman Douglas. But he has known such moments; and those of us who consider good food and good wine two of God’s greatest gifts to man, remember gratefully his attitude to the traveller who confessed that he did not mind what he ate; and in truth it was a disarming of revelation. “The man who is indifferent to women,” George Moore makes one of his characters say, “is indifferent to all things,” and so is the man who is indifferent to food and wine. Such a one is incomplete. He lacks a sense. He is an abnormality. And myself I should be equally pained were someone to say to me, “Oh, let’s go anywhere, I don’t mind where I dine.” I should feel as pained, and for that matter as shocked, as if someone who had asked me to lend him a book were to say, “Oh, any old novel, I don’t care!” Far preferable the lady who said to the assistant at Bumpus’s, “I’ve got a green book and a red book, now I should like a blue book.” She had at least a sense of setting, of dÉcor. Her drawing-room would have been, I am sure, a very delicate symphony in blue and grey, and the light from the electric lamp would have fallen softly on an exquisite disarray of cushions. Certainly she would never have said, “Oh, let’s go anywhere. I don’t mind where I dine.” She would know that evening is the artist of the day’s traffic, who smooths, and composes and selects, and achieves a harmony out of disorder; that it is for us to co-operate by the choice of the right book, the right companion, and the right setting.

That is why the choice of the right restaurant is so important. If we are in the mood for conversation there is our club or the CafÉ Royal; if we are alone and it would amuse us to watch other people dance, or should we wish to add as a flavouring to the music and the dancing the note ever so slightly struck of fugitive romances, there is the balcony of the ElysÉe CafÉ. Perhaps we feel sentimental, and at a certain table in a certain restaurant, to the accompaniment of “Tango Dream” or of some other tune of yesteryear that we have specially asked the orchestra to play, we recall a phase of life that is concluded, and quote with appropriate melancholy, Ah me, ah me, with what another heart ...! And there are again times when we ask simply for a quiet meal in our own company.

It may have been good fortune, or it may have been through trained instinct, that we discovered on our first day in Christiania the Theatre CafÉ: the restaurant was on the first floor, and there was a band on the balcony above the cafÉ on the floor below; so that the music rose softly and mysteriously through the floor, making it easy for us to weave stories round the various couples of the other tables.

That middle-aged man and the young girl at the table by the window, were they father and daughter; or were we attending the first scene, the prelude, of some grey seduction? That young couple two tables from us, they were not noticing what they ate. They hardly spoke a word to one another; but their eyes kept meeting: and as they met, they smiled. She was not wearing an engagement ring and we wondered whether he would propose to her that afternoon, or whether he had already proposed to her as they had driven there that morning in a taxi. Were they sitting now shy and happy in the memory of their first kisses? We wondered if they would make a success of life together. They were very young, we thought. Would she still be pretty in ten years’ time? Would that fragile charm of hers survive in womanhood? And we decided that it depended largely on the life that awaited her, that hers was not a prettiness to sustain long hours of toil and housework; and we hoped in that atmosphere of unseen music that fortune would be kind to her, that her man would invest their money wisely and present her with a large house and many servants.

We went a couple of times, on the invitation of the management, to the National Theatre, once to a modern piece—a Galsworthy sort of play—the other time to a costume drama—Madame Legros, by Heinrich Mann. We were not, either of us, I think, able to follow the plots at all closely; but as a compensation we were able to study more carefully those little mannerisms of dress and acting that are obscured by the quick action of the play; that the Norwegian dandy, for example, does not hitch up his trousers on sitting down. And we were able to concentrate our attention, more than we should otherwise, on the stage effects, the lighting, the technique, the carpentry of the business.

But it was, I think, as a picture that the theatre there appealed chiefly to us. The theatre in a small town tends to become, as it can never hope to become in London, a social and intellectual centre. One seemed there to be in touch with the life of Christiania. And it was pleasant to stroll between the acts down the long promenade behind the stalls, to watch the various groups greet and mingle and separate; to walk up the wide-columned staircase and turn into the large reception-rooms, with their gilt chairs and the inevitable bar for snacks; the gruyÈre and ham sandwiches, and the Hansa Ol; and it was pleasant to walk out into the cool air of the balcony and look out over the city as it lay below us in light and shadow. In the immediate foreground the stern statues of Ibsen and BjÖrnson; the trees, the gardens and the bandstand; beyond, the turreted house of parliament; and on either side running parallel the bright thoroughfares of the Carl Johansgate and the Storthingsgarten with their trams and restaurants and throng of people.

A pretty picture, but one that might at such an hour wake sadly in the heart of the young Norwegian a sense of life hasting from him. His whole life would seem to be enclosed by the bright boundaries of those streets, going no farther than the eye could see. A nation, he would say, of three million people, a capital of two streets and a few restaurants, and he would think regretfully of the scope and freedom of other countries and other cities—London, America, New York.

A story might be well began there on the balcony of the National Theatre in Christiania, with a young man confronted suddenly by the challenge of his life’s tether; a young man dreaming of a world wider and more glamorous than his own, a world that would hold fit employment for his youth and courage and ambition. He would turn from the balcony with an ache about him, and it might be that in the wide reception-room behind it he would find himself suddenly beside the girl whose image had been never long absent from his thoughts, and there would be comfort for him in the sight of her cool skin and light flaxen hair and pale cornflower blue eyes, eyes that would smile softly into his, that would seem to bid him “take life easy as the grass grows on the weirs.” And her sweetness would be cast as a net about him, entangling alike his dreams and purpose and his discontent. They will say nothing: there will be no need of words; but they will turn and walk out of the large room and stand together alone and silent on the balcony, in the evening air, happy, unutterably happy in their nearness one beside the other.

And he will never leave the city: he will be unfaithful to his dream; he will build a chalet on the hills of Majorstuen. And his youth will pass; and one evening he will stand again alone upon the balcony, and remember how thirty years earlier he had stood there, dreaming of a wider city, and the old ache will rise in him and he will wonder if he has been wise to accept the immediate adventure, the adventure that lay to hand. He will ask himself whether he might not have found elsewhere employment for that faith and energy of which the years have robbed him.

Or it may be that he is faithful to his dream and faithless to his love; that he goes to America and prospers there, and all that other side of him, all that is not strong and hard and resolute, is crushed out in the fierce antagonism of finance, the ruthless fight for wealth, and he returns at length an old man to the country of his youth, to the city that stretches unaltered beneath him in light and shadow: the stern statues, the trees and garden, and the bright, thronged thoroughfare of the Carl Johansgate; and at the end of the balcony there stands a young man leaning, as he had leant thirty years earlier, against the stone of the balustrade, and he is filled swiftly, unaccountably, with an envy for that young man’s potentialities. “I was once,” he thinks, “all that he is now. I, too, was young, and fresh and gracious. I, too, stood with the twenties and the thirties at my feet, and what have I made of them? While others played, I worked. And while I worked the magic and the beauty of life passed by me. I made gold of the years that others turned to poetry.” And he feels lonely, and turns with a shiver to the warm lights at the back of him. And he starts, for it seems to him that there has risen suddenly at his side a figure out of the past: a pale slim girl with cool white skin and flaxen hair and pale cornflower blue eyes, and he is deserted by that assurance that has won him so many contracts, and he stammers and says, “But surely, somewhere,—forgive me, please; but, haven’t we....” And there is a low laugh, and at his side a voice, “But you should know her, she is my daughter.”

And turning, he sees all that her mother has become, and seeing it, sees also his own youth buried there. And life seems to me an utterly empty and worthless thing.

A story that perhaps Maupassant would have cared to write. For that was one of his favourite devices to bring a man face to face suddenly with the survival of his discarded self, and the theme is Maupassant’s; that we get always the thing we ask for, but never as we ask for it, never according to the letter of our desire.