As the Englishman disdains to peer and is slow to speculate, so he resents any meddling or intrusion into his own preserves. How sedulously he plants out his garden, however tiny, from his neighbours and from the public road! If his windows look unmistakably on the street, at least he fills his window-boxes with the semblance of a hedge or a garden, and scarcely allows the dubious light to filter through his blinds and lace curtains; and the space between them, in the most dingy tenement, is blocked by an artificial plant. He is quite willing not to be able to look out, if only he can prevent other people from looking in. If they did, what would they see? Nothing shocking, surely; his attitude by his fireside is perfectly seemly. He is not throwing anything at the family; very likely they are not at home. Nor has he introduced any low-class person by the tradesman's entrance, in whose company he might blush to be spied. He is not in deshabille; if he has changed any part of his street clothes it has not been from any inclination to be slovenly in private, but on the contrary to vindicate his self-respect and domestic decorum. He does not dress to be seen of men, but of God. His elegance is an expression of comfort, and his comfort a consciousness of elegance. The eyes of men disquiet him, eminently presentable though he be, and he thinks it rude of them to stare, even in simple admiration. It takes tact and patience in strangers—perhaps at first an ostentatious indifference—to reassure him and persuade him that he would be safe in liking them. His frigid exterior is often a cuticle to protect his natural tenderness, which he forces himself not to express, lest it should seem misplaced or clumsy. There is a masculine sort of tenderness which is not fondness, but craving and premonition of things untried; and the young Englishman is full of it. His heart is quiet and full; he has not pumped it dry, like ill-bred children, in tantrums and effusive fancies. On the other hand, passions are atrophied if their expression is long suppressed, and we soon have nothing to say if we never say anything. As he grows old the Englishman may come to suspect, not without reason, that he might not reward too close a perusal. His social bristles will then protect his intellectual weakness, and he will puff himself out to disguise his vacuity.
It is intelligible that a man of deep but inarticulate character should feel more at ease in the fields and woods, at sea or in remote enterprises, than in the press of men. In the world he is obliged to maintain stiffly principles which he would prefer should be taken for granted. Therefore when he sits in silence behind his window curtains, with his newspaper, his wife, or his dog, his monumental passivity is not a real indolence. He is busily reinforcing his character, ruffled by the day's contact with hostile or indifferent things, and he is gathering new strength for the fray. After the concessions imposed upon him by necessity or courtesy, he is recovering his natural tone. To-morrow he will issue forth fresh and confident, and exactly the same as he was yesterday. His character is like his climate, gentle and passing readily from dull to glorious, and back again; variable on the surface, yet perpetually self-restored and invincibly the same.
[12]
THE LION AND THE UNICORN
Every one can see why the Lion should be a symbol for the British nation. This noble animal loves dignified repose. He haunts by preference solitary glades and pastoral landscapes. His movements are slow, he yawns a good deal; he has small squinting eyes high up in his head, a long displeased nose, and a prodigious maw. He apparently has some difficulty in making things out at a distance, as if he had forgotten his spectacles (for he is getting to be an elderly lion now), but he snaps at the flies when they bother him too much. On the whole, he is a tame lion; he has a cage called the Constitution, and a whole parliament of keepers with high wages and a cockney accent; and he submits to all the rules they make for him, growling only when he is short of raw beef. The younger members of the nobility and gentry may ride on his back, and he obligingly lets his tail hang out of the bars, so that the little Americans and the little Irishmen and the little Bolshevists, when they come to jeer at him, may twist it. Yet when the old fellow goes for a walk, how all the domestic and foreign poultry scamper! They know he can spring; his strength when aroused proves altogether surprising and unaccountable, he never seems to mind a blow, and his courage is terrible. The cattle, seeing there is no safety in flight, herd together when he appears on the horizon, and try to look unconscious; the hyenas go to snarl at a distance; the eagles and the serpents aver afterwards that they were asleep. Even the insects that buzz about his ears, and the very vermin in his skin, know him for the king of beasts.
But why should the other supporter of the British arms be the Unicorn? What are the mystic implications of having a single horn? This can hardly be the monster spoken of in Scripture, into the reason for whose existence, whether he be the rhinoceros of natural history or a slip of an inspired pen, it would be blasphemy to inquire. This Unicorn is a creature of mediaeval fancy, a horse rampant argent, only with something queer about his head, as if a croquet-stake had been driven into it, or he wore a very high and attenuated fool's cap. It would be far-fetched to see in this ornament any allusion to deceived husbands, as if in England the alleged injury never seemed worth two horns, or divorce and damages soon removed one of them. More plausible is the view that, as the Lion obviously expresses the British character, so the Unicorn somewhat more subtly expresses the British intellect. Whereas most truths have two faces, and at least half of any solid fact escapes any single view of it, the English mind is monocular; the odd and the singular have a special charm for it. This love of the particular and the original leads the Englishman far afield in the search for it; he collects curios, and taking all the nation together, there is perhaps nothing that some Englishman has not seen, thought, or known; but who sees things as a whole, or anything in its right place? He inevitably rides some hobby. He travels through the wide world with one eye shut, hops all over it on one leg, and plays all his scales with one finger. There is fervour, there is accuracy, there is kindness in his gaze, but there is no comprehension. He will defend the silliest opinion with a mint of learning, and espouse the worst of causes on the highest principles. It is notorious elsewhere that the world is round, that nature has bulk, and three if not four dimensions; it is a truism that things cannot be seen as a whole except in imagination. But imagination, if he has it, the Englishman is too scrupulous to trust; he observes the shapes and the colours of things intently, and behold, they are quite flat, and he challenges you to show why, when every visible part of everything is flat, anything should be supposed to be round. He is a keen reformer, and certainly the world would be much simpler, right opinion would be much lighter and wrong opinion much wronger, if things had no third and no fourth dimension.
Ah, why did those early phrenologists, true and typical Englishmen as they were, denounce the innocent midwife who by a little timely pressure on the infant skull compressed, as they said, "the oval of genius into the flatness of boobyism." Let us not be cowed by a malicious epithet. What some people choose to call boobyism and flatness may be the simplest, the most British, the most scientific philosophy. Your true booby may be only he who, having perforce but a flat view of a flat world, prates of genius and rotundity. Blessed are they whose eye is single. Only when very drunk do we acknowledge our double optics; when sober we endeavour to correct and ignore this visual duplicity and to see as respectably as if we had only one eye. The Unicorn might well say the same thing of two-horned beasts. Such double and crooked weapons are wasteful and absurd. You can use only one horn effectively even if you have two, but in a sidelong and cross-eyed fashion; else your prey simply nestles between, where eye cannot see it nor horn probe it. A single straight horn, on the contrary, is like a lancet; it pierces to the heart of the enemy by a sure frontal attack: nothing like it for pricking a bubble, or pointing to a fact and scathingly asking the Government if they are aware of it. In music likewise every pure melody passes from single note to note, as do the sweet songs of nature. Away with your demoniac orchestras, and your mad pianist, tossing his mane, and banging with his ten fingers and his two feet at once I As to walking on two feet, that also is mere wobbling and, as Schopenhauer observed, a fall perpetually arrested. It is an unstable compromise between going on all fours, if you want to be safe, and standing on one leg, like the exquisite flamingo, if you aspire to be graceful and spiritually sensitive. There is really no biped in nature except ridiculous man, as if the prancing Unicorn had succeeded in always being rampant; your feathered creatures are bipeds only on occasion and in their off moments; essentially they are winged beings, and their legs serve only to prop them when at rest, like the foot-piece of a motor-cycle which you let down when it stops.
The Lion is an actual beast, the Unicorn a chimera; and is not England in fact always buoyed up on one side by some chimera, as on the other by a sense for fact? Illusions are mighty, and must be reckoned with in this world; but it is not necessary to share them or even to understand them from within, because being illusions they do not prophesy the probable consequences of their existence; they are irrelevant in aspect to what they involve in effect. The dove of peace brings new wars, the religion of love instigates crusades and lights faggots, metaphysical idealism in practice is the worship of Mammon, government by the people establishes the boss, free trade creates monopolies, fondness smothers its pet, assurance precipitates disaster, fury ends in smoke and in shaking hands. The shaggy Lion is dimly aware of all this; he is ponderous and taciturn by an instinctive philosophy. Why should he be troubled about the dreams of the Unicorn, more than about those of the nightingale or the spider? He can roughly discount these creatures' habits, in so far as they touch him at all, without deciphering their fantastic minds. That makes the strength of England in the world, the leonine fortitude that helps her, through a thousand stupidities and blunders, always to pull through. But England is also, more than any other country, the land of poetry and of the inner man. Her sunlight and mists, her fields, cliffs, and moors are full of aerial enchantment; it is a land of tenderness and dreams. The whole nation hugs its hallowed shams; there is a real happiness, a sense of safety, in agreeing not to acknowledge the obvious; there is a universal conspiracy of respect for the non-existent. English religion, English philosophy, English law, English domesticity could not get on without this "tendency to feign." And see how admissible, how almost natural this chimera is. A milk-white pony, elegantly Arabian, with a mane like sea-foam, and a tail like a little silvery comet, sensitive nostrils, eyes alight with recognition, a steed such as Phoebus might well water at those springs that lie in the chalices of flowers, a symbol at once of impetuosity and obedience, a heraldic image for the daintiness of Ariel and the purity of Galahad. If somehow we suspect that the poetical creature is light-witted, the stem Lion opposite finds him nevertheless a sprightly and tender companion, as King Lear did his exquisite Fool. Such a Pegasus cannot be a normal horse; he was hatched in a cloud, and at his birth some inexorable ironic deity drove a croquet-stake into his pate, and set an attenuated crown, very like a fool's cap, between his startled ears.