I can use my eyes [he writes], I can compare notes and points in the two styles of playing, and they who have known me will bear testimony that I have never been accustomed to express myself rashly.
A forlorn figure, trusting so simply in the permanence of a static world.
It is sad to think how quickly that world has passed, and how effectively the machinery of our industrial system has already taken cricket to itself. Nyren’s game is no longer the entertainment of a few. It has become part of the national life, and probably, if the Bolshevists get their way here, it will be nationalised with the cinema and the theatre and association football. It is hard to find much in common between the old men who smoked long pipes and drank strong porter and watched Mr Haygarth bat three hours for sixteen runs, and the twenty thousand who flock to the Middlesex and Surrey match because the newspapers have told them to, and who barrack any batsman who plays through a maiden over. Indeed, on those big days, I do not think that you find there the survival of the old enthusiast. You will find him rather on a cold morning shivering at the back of the mound, on the third day of a match that is certain to be a draw, when there are only a couple of hundred spectators. No one knows why he goes there. He will be very cold. He will not see particularly good cricket. Professional batsmen will play for a draw in the most professional manner. The fielding towards four o’clock will grow slack, and half an hour before the end the captains will decide that it is no good going on, and that they might just as well draw stumps. Your old man in the mound knows that this must happen. But he goes there all the same, and at three o’clock he buys an evening paper to read an account of the match and he sees that the reporter says: “Hardstaff was beaten and bowled by a yorker.” And the old man will chuckle, knowing that it was a half-volley and that Hardstaff hit over it. And in January, when he reads through his Wisden, he will put a tick against that match, with the others that he has seen, and he will add them up and find that he has spent five more days at Lord’s this year than he did the year before. He will remember how his grandfather used to talk to him of Fuller Pilch; and he will smile, knowing the superiority of Hendren. And he will continue to watch cricket as his grandfather watched it on cold days as well as warm, when a draw is certain and when there is a chance of a great finish. One day he believes the professional batsmen will fail, there will be a collapse and a sensational victory, and only two hundred people will have seen it. He knows that many matches are played in the year and that very few of them yield great finishes, and he knows that the only way to make sure of the big occasion is to go there whenever stumps are pitched. And it is of him that we must think when we would reconstruct the cricket world of 1830.
For Nyren was the Homer of cricket and the Homeric days have passed. In 1923 the soil is no longer virgin. Cricket is a different game, and for the novelist it is less intriguing. There is no betting, there is no dishonesty, and, though we hear whispers of the questionable diplomacy of the northern leagues, it would hardly be possible to invent a cricket story with a credible villain. Nat Gould found no difficulty in writing a hundred novels of the racecourse; it is extremely difficult to write one of the cricket field. No scope is provided for dramatic narrative. Cricket in the lives of most of us is a delightful interlude—pleasant hours in pleasant company; and we do not take our success or failure very seriously. At school it is important: caps and cups are at stake, positions of authority go to the most proficient; and it so happens that the only great cricket story of recent times is a school story, P. G. Wodehouse’s Mike. But apart from school it is hard to find in cricket a motive of sufficient strength to allow of the development and presentation of dramatic action. On the racecourse large sums of money are at stake. On the success of a horse may depend the future happiness of the hero and the heroine. But I doubt if the result of a cricket match has in recent years ever involved much more than the temporary loss or gain of personal prestige. In Willow the King J. C. Snaith chose a cricket match as the setting for a summer idyll, but the author of Brooke of Covenden would hardly rank that story highly among his many very considerable achievements. The moment for the great cricket novel has passed: irrecoverably perhaps. And in the winter months we find ourselves returning as of old to a few books of reminiscence and to our long yellow-backed, tattered row of Wisden, and of the two we find Wisden the more companionable.
VII
WE read Wisden in the winter on cold nights before a leaping fire and it brings back to us the sense of new-mown grass, the feel of a cricket ball and the stir of sunlight. It is a substitute for cricket: and the old harassing doubt creeps up again, the doubt whether any literature is anything beyond a substitute, the focus of an unfulfilled desire. We know how old people drug themselves with novels. Every day they go down to the library and choose a new book, and for twenty-four hours cease to be themselves, becoming again in a story of adventure and young love all that they were and are not. Does not foiled ambition, we ask ourselves, always seek to realise itself in plays and pictures. Inevitably some side of ourselves must remain undeveloped, and through a process that the advanced psychologists describe as sublimation, we find that undeveloped side a substitute for its expression. Is a book anything more than a spade digging down to our subconsciousness, to our real self? Is anything ever quite what we take it for?
Influence: they’ll talk for hours about it from the pulpit. Influence: every little thing, every word and thought and act. It has its effect on someone somewhere. I can still hear a certain old parish priest’s thin voice falling across the dark silence of benediction. It was his pet theme: influence. “They will tell you in the big world,” he used to say to us, “that the strong man can be independent of his actions, that they fall from him as raindrops from a sloping roof. It may be so. Perhaps: for the very few, the very strong. But the water that falls from the clouds rests somewhere. It may slip from the sloping roofs, but it will find its level. Its level where it must complete its task, where it will rot wood, rust iron, or make the corn golden for the hands of man. Your acts, your words, your thoughts, they are like the falling rain. Somewhere they will create beauty or decay. They will never fall unheeded.”
He was right, of course. Every moment of the day we impart, as we receive, impressions. But the nature of those impressions. It is there that I’m just a little doubtful. That “as we sow we reap” theory. It looks all right. It ought to be all right. But life has a way of contradicting theories. It isn’t always the good tree that bears good fruit. Sometimes, unquestionably; but one fact is worth a string of arguments. Or rather, perhaps, there’s no argument that can withstand a fact. And here, as my contribution to the argument, is the story of Pussy Willow, as she told it me a couple of months ago raffishly across the table of a dingy restaurant, in one of those back streets that filter through from Shaftesbury Avenue across Soho.
I drop in there quite often after closing time. There’s dancing there and music, if you can so grace an unwashed foreigner’s strumming on a banjo. And they’ve got a licence to carry on till twelve. I don’t know how they got it. They don’t even call themselves a club. But they’ll dump a property sandwich down in front of you and serve you, up till midnight, with villainous concocted cognac at half-a-crown a glass. It’s like most of those Soho Bohemian places: a poisonous atmosphere to live in, but amusing and profitable enough to visit now and again. I like to sit quietly in a corner and watch a crowd of people, laughing and quarrelling and drinking—and try to make stories up round each of them, wondering who is in love with whom, and who will be so and so’s successor. Sometimes I signal to one of them to come and share a drink with me; more often they come across of their own accord and await an invitation.
It was in this way that I met, or should rather say, perhaps, re-met, Pussy Willow. A plump, flashily, but poorly dressed woman planted herself down in front of me and announced that she was two sheets in the wind.