VI
The customary classification of our golf courses into the inland and seaside groups is crude and inadequate. Apart from that there are many inland courses, and still more seaside courses, that differ from each other more than some in the one class differ from the others in the second one. The golfer of experience comes subconsciously to put all the courses that he knows well into different groups, those in each group having some distinguishing characteristic that specially appeals to his fancy or his style of play. The student of golfing architecture has no difficulty in separating the links that we know best into four or five clearly distinguished classes, or schools as we might call them. The contour and peculiarities of the country over which the course is laid are largely instrumental in determining the class to which each one belongs, but the hand of man makes the final decision, and so it is that on many good courses we have the quality exposed and the temperaments suggested of the great golfing architects of dying and dead generations. It may be that they had very unpliable materials with which to work; but after all in the planning of most holes there are two or three alternatives. One designer would determine that the golfers on his course should play over a high sand hill, while another would have inclined to avoiding it or fashioning another hole from another tee which would take the player round it.
One of the foremost of these schools of golf architecture is the Heroic. The name has only to be given, and every golfer of experience knows at once what links he would select as belonging to it—links with a fine length and needing a strong arm and a brave heart for successful play upon them, links which are broad and bold in their characteristics, never easy, and terribly difficult when Nature is in a tantrum mood. There are not so many drive and pitch holes on such courses, and when one is encountered the pitch calls for the most thoughtful golf. There are long, bare, bunkered holes that chill the blood of the nervous golfer as he goes forth from the tee with a glance at the brasseys in his bag. It seems as if he wanders into a vast space, a wilderness where the littleness of man is emphasised. As a leading example of golfing architecture of the Heroic school, I would select the fine course at Deal, and another noble specimen is Prestwick. There is a disposition in these times to make some new inland courses on such models so far as limited natural opportunities permit, and much the best of those that have been created so far is Walton Heath, where it is really Heroic golf all the way from the first tee to the home green.
A school which has yielded many fine courses is the Romantic. The lights and shades of such courses are in high contrast, and their colouring is rich. Hazards, big and full of character of their own, abound at almost every hole; there are rocks or sandhills everywhere, and likely enough the course is set in a frame of rich scenery surrounding. Some people would describe such courses as being “very sporting.” When one thinks of the Romantic school, and of the great days of adventure that one has spent when paying homage to its dead masters, one thinks of Troon and of North Berwick; and if of this type one must select one that is away from the sea, there is Sunningdale which clearly belongs to it, though its features are not so highly developed. The Braid Hills course is certainly attached to the Romantic school. The architects who were of this school, and the men who most admire their work, are warm-blooded, human players, who like risks and the overcoming of them, and who would have their pulses throb with the joy of life when they play on the links. They like, as it is said, to be called upon to take their lives in their hands at every stroke of their play. This is great golf.
As to which of all the schools provides the truest golf it is hard to say, since few men would agree on what is the truest golf. But quite likely the links of the Æsthetic school would be most frequently mentioned in this connection. There has been a subtle art at work in the planning of every hole. The architects have taken their patch of land, and, scorning all convention, have been inspired by great impulses in the selection and arrangement of the line of play. They have had moods and caprices, but they have been men of great genius, born and bred in a high atmosphere of the game. Like all other men of great independence of thought and action, they court and receive severe criticism; but at the end of it all the greatness, the superbness of the work is admitted, and its fame will for ever endure. There is character in it at every glance, but it is not such as is obtrusive, as at Troon. Here there is the perfect art that conceals art, and it is a testimony to its perfection that men go on discussing it for ever and ever, just as they still think and worry over the emotions that passed through the mind of Hamlet, and are not all agreed upon them. How many different readings, as it were, can one not give to a hole at St. Andrews—almost any hole on the old course. St. Andrews is the masterpiece of the Æsthetic school—profound, ingenious, intricate. Here and there we see a little of the influence of the Heroic school; the Romantic has had less. But always the Æsthetic school is a law unto itself, and its finished work is not to be likened to that of any other. Hoylake is of this school, though the example is not so pure and unaffected by the two great rival branches of architectural art as St. Andrews. Nevertheless it is distinctly Æsthetic, and there is no other course that is worthy of inclusion in this particular class.
We have another school, which should be called the Victorian. It has many merits, and it is very prolific. It represents a sober and industrious kind of golf, but it is utterly lacking in any inspiration. It is as business like and exact as you please, a six-o’clock-sharp morning-dress kind of golf. It conduces to good habits, and will make some good golfers. But on the whole it is rather prim and dull, and one never feels the blood running in the veins when contemplating it. Muirfield is one of the Victorian school, and there are one or two of the satellites of Hoylake, on its own seaboard, that are of it also. Sandwich has much of the Victorian element in it; but it is redeemed by the strong influence of other schools, as by the extreme romanticism of the Maiden. The suburbs in their own small way went over to Victorianism entirely at the outset, partly because their circumstances exerted such an irresistible tendency in that direction. A drive over one bunker and a pitch over the next one is Victorianism in its crudest form; but perhaps after all the suburbs are lucky in being able to attach themselves to any school. I am told that the Victorian school has had paramount influence in America.