As the ninth, tenth, and eleventh strokes struck, a huge blackness sprawled over the whole of London. With the twelfth stroke of midnight, the darkness was complete. A turbulent welter of cloud covered the city. All was darkness; all was doubt; all was confusion. The Eighteenth century was over; the Nineteenth century had begun.
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5
Chapter
T he great cloud which hung, not only over London, but over the whole of the British Isles on the first day of the nineteenth century stayed, or rather, did not stay, for it was buffeted about constantly by blustering gales, long enough to have extraordinary consequences upon those who lived beneath its shadow. A change seemed to have come over the climate of England. Rain fell frequently, but only in fitful gusts, which were no sooner over than they began again. The sun shone, of course, but it was so girt about with clouds and the air was so saturated with water, that its beams were discoloured and purples, oranges, and reds of a dull sort took the place of the more positive landscapes of the eighteenth century. Under this bruised and sullen canopy the green of the cabbages was less intense, and the white of the snow was mud-died. But what was worse, damp now began to make its way in-to every house — damp, which is the most insidious of all enemies, for while the sun can be shut out by blinds, and the frost roasted by a hot fire, damp steals in while we sleep; damp is silent, imperceptible, ubiquitous. Damp swells the wood, furs the kettle, rusts the iron, rots the stone. So gradual is the process, that it is not until we pick up some chest of drawers, or coal scuttle, and the whole thing drops to pieces in our hands, that we suspect even that the disease is at work.
Thus, stealthily and imperceptibly, none marking the exact day or hour of the change, the constitution of England was altered and nobody knew it. Everywhere the effects were felt.
The hardy country gentleman, who had sat down gladly to a meal of ale and beef in a room designed, perhaps by the brothers Adam, with classic dignity, now felt chilly. Rugs appeared; beards were grown; trousers were fastened tight under the instep. The chill which he felt in his legs the country gentleman soon transferred to his house; furniture was muffled; walls and 131
tables were covered; nothing was left bare. Then a change of diet became essential. The muffin was invented and the crum-pet. Coffee supplanted the after-dinner port, and, as coffee led to a drawing-room in which to drink it, and a drawing-room to glass cases, and glass cases to artificial flowers, and artificial flowers to mantelpieces, and mantelpieces to pianofortes, and pianofortes to drawing-room ballads, and drawing-room ballads (skipping a stage or two) to innumerable little dogs, mats, and china ornaments, the home — which had become extremely important — was completely altered.
Outside the house — it was another effect of the damp — ivy grew in unparalleled profusion. Houses that had been of bare stone were smothered in greenery. No garden, however formal its original design, lacked a shrubbery, a wilderness, a maze.
What light penetrated to the bedrooms where children were born was naturally of an obfusc green, and what light penetrated to the drawing-rooms where grown men and women lived came through curtains of brown and purple plush. But the change did not stop at outward things. The damp struck within.
Men felt the chill in their hearts; the damp in their minds. In a desperate effort to snuggle their feelings into some sort of warmth one subterfuge was tried after another. Love, birth, and death were all swaddled in a variety of fine phrases. The sexes drew further and further apart. No open conversation was tolerated. Evasions and concealments were sedulously practised on both sides. And just as the ivy and the evergreen rioted in the damp earth outside, so did the same fertility show itself within. The life of the average woman was a succession of childbirths. She married at nineteen and had fifteen or eighteen children by the time she was thirty; for twins abounded.
Thus the British Empire came into existence; and thus — for there is no stopping damp; it gets into the inkpot as it gets into the woodwork — sentences swelled, adjectives multiplied, lyr-ics became epics, and little trifles that had been essays a column long were now encyclopaedias in ten or twenty volumes. But Eusebius Chubb shall be our witness to the effect this all had upon the mind of a sensitive man who could do nothing to stop it. There is a passage towards the end of his memoirs where he describes how, after writing thirty-five folio pages one morning ‘all about nothing’ he screwed the lid of his 132
inkpot and went for a turn in his garden. Soon he found himself involved in the shrubbery. Innumerable leaves creaked and glistened above his head. He seemed to himself ‘to crush the mould of a million more under his feet’. Thick smoke exuded from a damp bonfire at the end of the garden. He reflected that no fire on earth could ever hope to consume that vast vegetable encumbrance. Wherever he looked, vegetation was rampant. Cucumbers ‘came scrolloping across the grass to his feet’. Giant cauliflowers towered deck above deck till they rivalled, to his disordered imagination, the elm trees themselves.
Hens laid incessantly eggs of no special tint. Then, remembering with a sigh his own fecundity and his poor wife Jane, now in the throes of her fifteenth confinement indoors, how, he asked himself, could he blame the fowls? He looked upwards into the sky. Did not heaven itself, or that great frontispiece of heaven, which is the sky, indicate the assent, indeed, the in-stigation of the heavenly hierarchy? For there, winter or summer, year in year out, the clouds turned and tumbled, like whales, he pondered, or elephants rather; but no, there was no escaping the simile which was pressed upon him from a thousand airy acres; the whole sky itself as it spread wide above the British Isles was nothing but a vast feather bed; and the undistinguished fecundity of the garden, the bedroom and the henroost was copied there. He went indoors, wrote the passage quoted above, laid his head in a gas oven, and when they found him later he was past revival.
While this went on in every part of England, it was all very well for Orlando to mew herself in her house at Blackfriars and pretend that the climate was the same; that one could still say what one liked and wear knee-breeches or skirts as the fancy took one. Even she, at length, was forced to acknowledge that times were changed. One afternoon in the early part of the century she was driving through St James’s Park in her old panelled coach when one of those sunbeams, which occasionally, though not often, managed to come to earth, struggled through, marbling the clouds with strange prismatic colours as it passed. Such a sight was sufficiently strange after the clear and uniform skies of the eighteenth century to cause her to pull the window down and look at it. The puce and flamingo clouds made her think with a pleasurable anguish, which 133
proves that she was insensibly afflicted with the damp already, of dolphins dying in Ionian seas. But what was her surprise when, as it struck the earth, the sunbeam seemed to call forth, or to light up, a pyramid, hecatomb, or trophy (for it had something of a banquet-table air)— a conglomeration at any rate of the most heterogeneous and ill-assorted objects, piled higgledy-piggledy in a vast mound where the statue of Queen Victoria now stands! Draped about a vast cross of fretted and floriated gold were widow’s weeds and bridal veils; hooked on to other excrescences were crystal palaces, bassinettes, milit-ary helmets, memorial wreaths, trousers, whiskers, wedding cakes, cannon, Christmas trees, telescopes, extinct monsters, globes, maps, elephants, and mathematical instruments — the whole supported like a gigantic coat of arms on the right side by a female figure clothed in flowing white; on the left by a portly gentleman wearing a frock-coat and sponge-bag trousers. The incongruity of the objects, the association of the fully clothed and the partly draped, the garishness of the different colours and their plaid-like juxtapositions afflicted Orlando with the most profound dismay. She had never, in all her life, seen anything at once so indecent, so hideous, and so monumental. It might, and indeed it must be, the effect of the sun on the water-logged air; it would vanish with the first breeze that blew; but for all that, it looked, as she drove past, as if it were destined to endure for ever. Nothing, she felt, sinking back into the corner of her coach, no wind, rain, sun, or thunder, could ever demolish that garish erection. Only the noses would mottle and the trumpets would rust; but there they would remain, pointing east, west, south, and north, eternally. She looked back as her coach swept up Constitution Hill. Yes, there it was, still beaming placidly in a light which — she pulled her watch out of her fob — was, of course, the light of twelve o’clock mid-day. None other could be so prosaic, so matter-of-fact, so impervious to any hint of dawn or sunset, so seemingly calculated to last for ever. She was determined not to look again. Already she felt the tides of her blood run sluggishly.
But what was more peculiar a blush, vivid and singular, over-spread her cheeks as she passed Buckingham Palace and her eyes seemed forced by a superior power down upon her knees.
Suddenly she saw with a start that she was wearing black 134
breeches. She never ceased blushing till she had reached her country house, which, considering the time it takes four horses to trot thirty miles, will be taken, we hope, as a signal proof of her chastity.
Once there, she followed what had now become the most imperious need of her nature and wrapped herself as well as she could in a damask quilt which she snatched from her bed. She explained to the Widow Bartholomew (who had succeeded good old Grimsditch as housekeeper) that she felt chilly.
‘So do we all, m’lady,’ said the Widow, heaving a profound sigh. ‘The walls is sweating,’ she said, with a curious, lugubri-ous complacency, and sure enough, she had only to lay her hand on the oak panels for the finger-prints to be marked there. The ivy had grown so profusely that many windows were now sealed up. The kitchen was so dark that they could scarcely tell a kettle from a cullender. A poor black cat had been mistaken for coals and shovelled on the fire. Most of the maids were already wearing three or four red-flannel petticoats, though the month was August.
‘But is it true, m’lady,’ the good woman asked, hugging herself, while the golden crucifix heaved on her bosom, ‘that the Queen, bless her, is wearing a what d’you call it, a — ’ the good woman hesitated and blushed.
‘A crinoline,’ Orlando helped her out with it (for the word had reached Blackfriars). Mrs Bartholomew nodded. The tears were already running down her cheeks, but as she wept she smiled. For it was pleasant to weep. Were they not all of them weak women? wearing crinolines the better to conceal the fact; the great fact; the only fact; but, nevertheless, the deplorable fact; which every modest woman did her best to deny until denial was impossible; the fact that she was about to bear a child? to bear fifteen or twenty children indeed, so that most of a modest woman’s life was spent, after all, in denying what, on one day at least of every year, was made obvious.
‘The muffins is keepin’ ‘ot,’ said Mrs Bartholomew, mopping up her tears, ‘in the liberry.’
And wrapped in a damask bed quilt, to a dish of muffins Orlando now sat down.
‘The muffins is keepin’ ‘ot in the liberry’— Orlando minced out the horrid cockney phrase in Mrs Bartholomew’s refined 135
cockney accents as she drank — but no, she detested the mild fluid — her tea. It was in this very room, she remembered, that Queen Elizabeth had stood astride the fireplace with a flagon of beer in her hand, which she suddenly dashed on the table when Lord Burghley tactlessly used the imperative instead of the subjunctive. ‘Little man, little man,’— Orlando could hear her say —’is “must” a word to be addressed to princes?’ And down came the flagon on the table: there was the mark of it still.
But when Orlando leapt to her feet, as the mere thought of that great Queen commanded, the bed quilt tripped her up, and she fell back in her arm-chair with a curse. Tomorrow she would have to buy twenty yards or more of black bombazine, she supposed, to make a skirt. And then (here she blushed), she would have to buy a crinoline, and then (here she blushed) a bassinette, and then another crinoline, and so on… The blushes came and went with the most exquisite iteration of modesty and shame imaginable. One might see the spirit of the age blowing, now hot, now cold, upon her cheeks. And if the spirit of the age blew a little unequally, the crinoline being blushed for before the husband, her ambiguous position must excuse her (even her sex was still in dispute) and the irregular life she had lived before.
At length the colour on her cheeks resumed its stability and it seemed as if the spirit of the age — if such indeed it were —
lay dormant for a time. Then Orlando felt in the bosom of her shirt as if for some locket or relic of lost affection, and drew out no such thing, but a roll of paper, sea-stained, bloodstained, travel-stained — the manuscript of her poem, ‘The Oak Tree’. She had carried this about with her for so many years now, and in such hazardous circumstances, that many of the pages were stained, some were torn, while the straits she had been in for writing paper when with the gipsies, had forced her to overscore the margins and cross the lines till the manuscript looked like a piece of darning most conscientiously carried out.
She turned back to the first page and read the date, 1586, written in her own boyish hand. She had been working at it for close three hundred years now. It was time to make an end.
Meanwhile she began turning and dipping and reading and skipping and thinking as she read, how very little she had 136
changed all these years. She had been a gloomy boy, in love with death, as boys are; and then she had been amorous and florid; and then she had been sprightly and satirical; and sometimes she had tried prose and sometimes she had tried drama.
Yet through all these changes she had remained, she reflected, fundamentally the same. She had the same brooding meditat-ive temper, the same love of animals and nature, the same passion for the country and the seasons.
‘After all,’ she thought, getting up and going to the window,
‘nothing has changed. The house, the garden are precisely as they were. Not a chair has been moved, not a trinket sold.
There are the same walks, the same lawns, the same trees, and the same pool, which, I dare say, has the same carp in it. True, Queen Victoria is on the throne and not Queen Elizabeth, but what difference… ’
No sooner had the thought taken shape, than, as if to rebuke it, the door was flung wide and in marched Basket, the butler, followed by Bartholomew, the housekeeper, to clear away tea.
Orlando, who had just dipped her pen in the ink, and was about to indite some reflection upon the eternity of all things, was much annoyed to be impeded by a blot, which spread and me-andered round her pen. It was some infirmity of the quill, she supposed; it was split or dirty. She dipped it again. The blot increased. She tried to go on with what she was saying; no words came. Next she began to decorate the blot with wings and whiskers, till it became a round-headed monster, something between a bat and a wombat. But as for writing poetry with Basket and Bartholomew in the room, it was impossible. No sooner had she said ‘Impossible’ than, to her astonishment and alarm, the pen began to curve and caracole with the smoothest possible fluency. Her page was written in the neatest sloping Italian hand with the most insipid verse she had ever read in her life:
I am myself but a vile link
