Some Impressions of My Elders

by St. John G. Ervine

ARNOLD BENNETT

I

One night, some years before the outbreak of the European War, I arrived in the town of Hanley in the County of Stafford in the midlands of England to deliver a lecture on some subject, the name of which I do not now remember, although I suspect it was connected with the general improvement of mankind. I had accepted the invitation to lecture in Hanley, not because I had anything of importance to say to its inhabitants, but because I had lately read "The Old Wives' Tale" by Mr. Arnold Bennett, and was eager to see the place and the people from which that great book had sprung. My recollections of the visit are very vague now, but I remember that my host, a man of serious mind, a little over-weighted, perhaps, by the troubles of the universe, took me for a walk on Sunday morning through some of "the Five Towns," in the course of which he displayed much knowledge of the topography of Mr. Bennett's books without displaying much knowledge of the books themselves. He informed me that the real name of "Trafalgar Road" in "The Old Wives' Tale" is "Waterloo Road" and that the fictitious name of Hanley is "Hanbridge." He speculated incuriously on the oddness which had caused Mr. Bennett to alter real names in this palpable manner, and ended his discourse with the statement that he seldom read novels (which he persisted in calling "Works of Fiction") being more inclined to the study of serious books. I learned that he read chiefly in the writings of sociologists and political economists and similar serious persons. I suggested to him that he might more profitably read novels than sociological books if he wished to discover something about human character. He was a polite and kindly man, and he did not abruptly tell me of my folly, but I could see that he considered me to be a fool or, at best, a flippant person, and I am sure that had he not been my host he would not have troubled to attend my lecture that evening. He smiled in the benign way men have when they abstain from expressing their frank opinion, as he listened to me saying that he would find in novels a greater fund of information about human nature than he could hope to find in all the works that all the sociologists in the world have written. Men of affairs, I said, spend their lives in writing ponderous volumes on society which are out-of-date as soon as they are published, whereas the novel or the play of a man of genius remains true for ever. Henry Fielding and Adam Smith were contemporaries, but I imagine few will deny that there is more durable stuff, stuff more continuously applicable to human concerns, in "Tom Jones" than there is in "The Wealth of Nations." But my friend would have none of this, and seemed to think that any man who spent time in reading Fielding's novel which might be spent in reading Adam Smith was shamefully misusing his mind. He led me, I remember, through much of the territory which is generically known as "the Five Towns." I saw the Square in which the Baineses lived, and was told that although Mr. Bennett called it "St. Luke's Square" in "The Old Wives' Tale," the local authorities preferred to call it after St. John. So great was the influence of the novel upon me that when I peered through the window of the shop in which, so I was told, Constance and Sophia Baines were born, I almost expected to see the half-heroic figure of Samuel Povey behind the counter or to meet the cold, un-human glance of that frozen spinster, Miss Marie Insull, who once, and once only, displayed signs of human emotion—on the occasion when Mr. Critchlow brought her into the presence of the widowed Constance to announce his betrothal to her:

The dog had leisurely strolled forward to inspect the edges of the fiancé's trousers. Miss Insull summoned the animal with a noise of the fingers, and then bent down and caressed it. A strange gesture proving the validity of Charles Critchlow's discovery that in Maria Insull a human being was buried.

My host led me up stony streets, in which every sort of domestic architecture was visible—for "the Five Towns" are so independent that even in the workmen's houses there is no uniformity of style or harmony of design, a fact which makes, not for a pleasing diversity, but for shapelessness and incoherence—and pointed to places in the ground where, so he said, the earth had opened, owing to underground operations, and swallowed whosoever should happen to be passing over it. There was a story of a man who had set forth in the morning to go to his work, but, before he had travelled many yards from his home, was suddenly consumed by the opening earth and was never seen again. I will admit that I trod those streets thereafter with trepidation and considerable care! I had begun to tire of the ugly houses with their insufferable architecture, and of the grime caused by innumerable chimneys emitting thick, black smoke, when I was led up a steep street at the top of which I was told to halt and gaze about me. I saw the whole of "the Five Towns" and much of the surrounding country spread out like the kingdoms of the world and realized how strangely moving such a scene can be because of its suggestion of human presences. It was not without beauty, in spite of the gloom of an industrial area, but it impressed me most by its air of effort and power and achievement. I became conscious of the activities of men and women, of great labours, of confused strivings out of which some human need is satisfied, and I came away, as I always come away from such sights, immensely impressed by human organization and very satisfied with great machines. When we had descended from that high street and had walked elsewhere, I found myself suddenly confronting a railway station on which I saw the romantic name of ETRURIA.

II

Etruria, the country of the Etruscans in Italy, was, I suppose, a very different place from Etruria, the small town between Hanley and Burslem ("Hanbridge" and "Bursley") where Josiah Wedgwood founded his pottery in the eighteenth century, but the spirit which produced the Etruscan ceramics was not dissimilar from the spirit which produces the famous Wedgwood ware; and I thought to myself as I looked at the romantic name of that grimy-looking town in Staffordshire that I had stumbled on the secret of Mr. Bennett. Underneath the plain appearance of the pottery town, there is a spirit which has persisted in the production of beautiful things for the best part of two centuries, a spirit so much in love with delicate ware that it calls an unsightly town by the name of an ancient and reputedly beautiful one; and underneath the hard and fact-ridden style of Mr. Bennett there is an ineradicable desire for romance. I said of him once that he fights the battles of the romantic with the weapons of the realist, and that description seems to me to be strictly accurate. Mr. Bennett mingles, even in his Christian names, the gritty and the graceful in a way that is singularly characteristic of the people of his district. "Enoch Arnold Bennett" is a combination of names not easily imagined, but it is not more unusual than the combination of Etruria and Staffordshire, of lovely ceramics and "the Five Towns." Mr. Bennett has many times been charged with addiction to dusty realism, a dull love of facts. His critics say of him, after reading such a book as "Your United States," that he must have spent his time on the liner in which he went to America in counting the rivets in her plates for the sheer love of counting them, and they conclude that he is a materialist because of his interest in numbers and in things. They even complain of him that he is infatuated with largeness, just as Queen Victoria was, and that he imagines a thing to be good when it is merely big. This is undiscerning criticism. It is as if a child were charged with being a disciple of Haeckel because it thinks that ten things are more wonderful than one thing. We may think that Mr. Bennett is a fact-ridden modern, incapable of romance, because he inordinately admires electricity, but to do so is to announce ourselves as dunderheads for not discovering that his love of electricity is the Romantic's love of the Magic Lamp! How easily most of us are dissuaded from our faith in romantic things! We are in ecstasies when we hear of St. Francis of Assisi preaching to the fishes and the birds and addressing them as little brothers, but we are horribly shocked and humiliated when Mr. Bernard Shaw makes the mad priest in "John Bull's Other Island" speak of a pig as our little brother! There is prettiness in the community of men and birds, even of men and the smaller fish, but pigs—PORK!! We find romance in the spectacle of a man rubbing a dirty lantern with his fingers in order to summon up a serving genie, but cannot perceive the greater romance found by Mr. Bennett in the spectacle of a man pressing a switch and illuminating a room with power drawn by wires from a station many miles away! We are enchanted with the thought of transport on Magic Carpets, but unmoved by the thought that presently great ships will be guided into New York Harbour, not by pilots, but by means of wireless telegraphy! Some dullards have exclaimed despairingly of Mr. Bennett because of what they called his trivial and commonplace interests as revealed in that enthralling book, "Things That Have Interested Me," failing utterly to discern that it is his interest in these things which is so infallible a sign of his zest for life. Any one can be interested in the Rocky Mountains, but it is only a superbly romantic man who can be absorbed in Tarrytown. There is not anything in the round world, made by God or by man, which does not interest Mr. Bennett. Familiarity breeds contempt in most of us, but it does not breed contempt in him. He never gets used to things. Most of us are too dull of mind, too destitute of imagination to feel interest or astonishment unless we are abruptly confronted with the unusual or the violent, and our capacity for romantic enjoyment is limited and soon exhausted. We would exclaim with astonishment on beholding an eruption of Mount Vesuvius for the first time, but we would exclaim rather less on perceiving the ninety-ninth eruption. Mr. Bennett would experience as much excitement on the ninety-ninth occasion as he would on the first. Nothing less than an earthquake is necessary to stir some of us, but Mr. Bennett can be stirred by the sight of a taxicab. The genesis of "The Old Wives' Tale," as described in the preface to one of the later editions, is a clear illustration of his romantic possession:

In the autumn of 1903 [he writes], I used to dine frequently in a restaurant in the Rue de Clichy, Paris. Here were, among others, two waitresses that attracted my attention. One was a beautiful, pale young girl, to whom I never spoke, for she was employed far away from the table I affected. The other, a stout, middle-aged, managing Breton woman, had sole command over my table and me, and gradually she began to assume such a maternal tone towards me that I saw I should be compelled to leave that restaurant. If I was absent for a couple of nights running she would reproach me sharply: "What! you are unfaithful to me?" Once when I complained about some French beans, she informed me roundly that "French beans were a subject which I did not understand...."

I break the quotation here to exclaim at the obtuseness of that Breton woman who, in the course of her management of Mr. Bennett, failed to discover that he loves to regard himself as an authority on such matters as French beans. There is a kind of romantic pride which makes some men believe that they know the one place in a city where the best brand of a particular article is to be purchased. Mr. Bennett has that pride. The heaviness of the Breton's blow to it can be imagined after reading the next sentence in the passage from which I am making the quotation:

I then decided to be eternally unfaithful to her, and I abandoned the restaurant. A few nights before the final parting an old woman came into the restaurant to dine. She was fat, shapeless, ugly and grotesque. She had a ridiculous voice and ridiculous gestures. It was easy to see that she lived alone, and that in the long lapse of years she had developed the kind of peculiarity which induces guffaws among the thoughtless. She was burdened with a lot of small parcels which she kept dropping. She chose one seat; and then, not liking it, chose another; and then another. In a few moments she had the whole restaurant laughing at her. That my middle-aged Breton should laugh was indifferent to me, but I was pained to see a coarse grimace of giggling on the pale face of the beautiful young waitress to whom I had never spoken. I reflected, concerning the grotesque diner: This woman was once young, slim, perhaps beautiful; certainly free from these ridiculous mannerisms. Very probably she is unconscious of her singularities. Her case is a tragedy. One ought to be able to make a heartrending novel out of the history of a woman such as she. Every stout, ageing woman is not grotesque—far from it!—but there is an extreme pathos in the mere fact that every stout, ageing woman was once a young girl with the unique charm of youth in her form and movements and in her mind. And the fact that the change from the young girl to the stout, ageing woman is made up of an infinite number of infinitesimal changes, each unperceived by her, only intensifies the pathos. It was at that instant that I was visited by the idea of writing the book which ultimately became "The Old Wives' Tale." ...