Tono-Bungay

And then the traditional and ostensible England falls from you altogether. The third movement begins, the last great movement in the London symphony, in which the trim scheme of the old order is altogether dwarfed and swallowed up. Comes London Bridge, and the great warehouses tower up about you, waving stupendous cranes, the gulls circle and scream in your ears, large ships lie among their lighters, and one is in the port of the world. Again and again in this book I have written of England as a feudal scheme overtaken by fatty degeneration and stupendous accidents of hypertrophy.

For the last time I must strike that note as the memory of the dear neat little sunlit ancient Tower of London lying away in a gap among the warehouses comes back to me, that little accumulation of buildings so provincially pleasant and dignified, overshadowed by the vulgarest, most typical exploit of modern England, the sham Gothic casings to the ironwork of the Tower Bridge. That Tower Bridge is the very balance and confirmation of Westminster’s dull pinnacles and tower. That sham Gothic bridge; in the very gates of our mother of change, the Sea!

But after that one is in a world of accident and nature. For the third part of the panorama of London is beyond all law, order, and precedence; it is the seaport and the sea. One goes down the widening reaches through a monstrous variety of shipping, great steamers, great sailing-ships, trailing the flags of all the world, a monstrous confusion of lighters, witches’ conferences of brown-sailed barges, wallowing tugs, a tumultuous crowding and jostling of cranes and spars, and wharves and stores, and assertive inscriptions. Huge vistas of dock open right and left of one, and here and there beyond and amidst it all are church towers, little patches of indescribably old-fashioned and worn-out houses, riverside pubs and the like, vestiges of townships that were long since torn to fragments and submerged in these new growths. And amidst it all no plan appears, no intention, no comprehensive desire. That is the very key of it all. Each day one feels that the pressure of commerce and traffic grew, grew insensibly monstrous, and first this man made a wharf and that erected a crane, and then this company set to work and then that, and so they jostled together to make this unassimilable enormity of traffic. Through it we dodged and drove eager for the high seas.

I remember how I laughed aloud at the glimpse of the name of a London County Council steamboat that ran across me. Caxton it was called, and another was Pepys, and another was Shakespeare. They seemed so wildly out of place, splashing about in that confusion. One wanted to take them out and wipe them and put them back in some English gentleman’s library. Everything was alive about them, flash ing, splashing, and passing, ships moving, tugs panting, hawsers taut, barges going down with men toiling at the sweeps, the water all a-swirl with the wash of shipping, scaling into millions of little wavelets, curling and frothing under the whip of the unceasing wind. Past it all we drove. And at Greenwich to the south, you know, there stands a fine stone frontage where all the victories are recorded in a Painted Hall, and beside it is the “Ship” where once upon a time those gentlemen of Westminster used to have an annual dinner – before the port of London got too much for them altogether. The old facade of the Hospital was just warming to the sunset as we went by, and after that, right and left, the river opened, the sense of the sea increased and prevailed, reach after reach from Northfleet to the Nore.

And out you come at last with the sun behind you into the eastern sea. You speed up and tear the oily water louder and faster, siroo, siroo-swish-siroo, and the hills of Kent – over which I once fled from the Christian teachings of Nicodemus Frapp – fall away on the right hand and Essex on the left. They fall away and vanish into blue haze, and the tall slow ships behind the tugs, scarce moving ships and wallowing sturdy tugs, are all wrought of wet gold as one goes frothing by. They stand out, bound on strange missions of life and death, to the killing of men in unfamiliar lands. And now behind us is blue mystery and the phantom flash of unseen lights, and presently even these are gone, and I and my destroyer tear out to the unknown across a great grey space. We tear into the great spaces of the future and the turbines fall to talking in unfamiliar tongues. Out to the open we go, to windy freedom and trackless ways. Light after light goes down. England and the Kingdom, Britain and the Empire, the old prides and the old devotions, glide abeam, astern, sink down upon the horizon, pass – pass. The river passes – London passes, England passes…

III

This is the note I have tried to emphasise, the note that sounds clear in my mind when I think of anything beyond the purely personal aspects of my story.

It is a note of crumbling and confusion, of change and seemingly aimless swelling, of a bubbling up and medley of futile loves and sorrows. But through the confusion sounds another note. Through the confusion something drives, something that is at once human achievement and the most inhuman of all existing things. Something comes out of it… How can I express the values of a thing at once so essential and so immaterial. It is something that calls upon such men as I with an irresistible appeal.

I have figured it in my last section by the symbol of my destroyer, stark and swift, irrelevant to most human interests. Sometimes I call this reality Science, sometimes I call it Truth. But it is something we draw by pain and effort ont of the heart of life, that we disentangle and make clear. Other men serve it, I know, in art, in literature, in social invention, and see it in a thousand different figures, under a hundred names. I see it always as austerity, as beauty. This thing we make clear is the heart of life. It is the one enduring thing. Men and nations, epochs and civilisation pass each making its contribution I do not know what it is, this something, except that it is supreme. It is, a something, a quality, an element, one may find now in colours, now in norms, now in sounds, now in thoughts. It emerges from life with each year one lives and feels, and generation by generation and age by age, but the how and why of it are all beyond the compass of my mind…

Yet the full sense of it was with me all that night as I drove, lonely above the rush and murmur of my engines, out upon the weltering circle of the sea.

Far out to the northeast there came the flicker of a squadron of warships waving white swords of light about the sky. I kept them hull-down, and presently they were mere summer lightning over the watery edge of the globe… I fell into thought that was nearly formless, into doubts and dreams that have no words, and it seemed good to me to drive ahead and on and or through the windy starlight, over the long black waves.

IV

It was morning and day before I returned with the four sick and starving journalists who had got permission to come with me, up the shining river, and past the old grey Tower…

I recall the back views of those journalists very distinctly, going with a certain damp weariness of movement, along a side street away from the river. They were good men and bore me no malice, and they served me up to the public in turgid degenerate Kiplingese, as a modest button on the complacent stomach of the Empire. Though as a matter of fact, X2 isn’t intended for the empire, or indeed for the hands of any European power. We offered it to our own people first, but they would have nothing to do with me, and I have long since ceased to trouble much about such questions. I have come to see myself from the outside, my country from the outside – without illusions. We make and pass.

We are all things that make and pass striving upon a hidden mission, out to the open sea.