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rel="nofollow" href="#ulink_c37f3825-4d22-56df-8d6b-a2fbeb6f7b27">80 in 1912. What do you make of that? Can it date from the Franco Prussian war? Or is it a German student song made in anticipation of Der Tag about 1910? The latter would be an interesting fact for the historian. I never heard the ballad as a whole, but think it is poor—in tact, nasty. Bawdy ought to be outrageous and extravagant like the piece quoted. It can, of course, be funny through sheer indefensible insolence, like the following (to the tune of ‘Here we go gathering nuts in May’)

      The Dean of Balliol sleeps with men Sleeps with men, sleeps with men. The Dean of Balliol sleeps with men Till three o’clock in the morning.

      But any parts I have ever heard of the ‘German Officer’ relate quite possible happenings that have really nothing funny about them. Again, bawdy must have nothing cruel about it, like ‘Old Mother Riley’: it must not approach anywhere near the pornographic like the poem in which every line begins ‘A little’. Within these limits I think it is a good and wholesome genre: though I can’t help feeling sorry that it should be the only living folk-art left to us. If our English binge had been held in a mediaeval university we should have had, mixed with the bawdy songs, tragical and even devotional pieces, equally authorless and handed on from mouth to mouth in the same way, with the same individual variations.

      This same Hugh-Jones has been one of my disappointments. I met him in Cambridge at the Award last year: we discovered a common enthusiasm for Shaw and Chesterton and just an interesting amount of disagreement on the subjects they led on to: sat till after midnight: and parted with a strong desire to continue the acquaintance. A few weeks ago he asked me to dine, not in Keble but at his house. That was the first shock—married! I arrived and got the second shock—not only a wife present, but a sister in law—an Anglo-Indian sister in law. Still I consoled myself with the expectation that he would carry me off to his study after dinner for some talk. Not a bit of it. Not even a temporary separation from the ladies over our wine. He had asked me, apparently, to sit solidly with his wife and sister in law till ten o’clock when I could endure it no longer and went.

      Tartuffe was really excellently done. I had neither read nor seen it before and enjoyed it thoroughly. To a reader I daresay the savagery is the most striking thing, but on the stage it made me laugh ‘consumedly’. The final scene between Organ and his wife is as funny as anything I know (‘But I tell you, Mother, I saw him with my own eyes. I saw the rascal embracing my wife’—‘Ah, my son, beware of tale-bearers. Without doubt the worthy man has been slandered’—‘I shall go mad! I saw it myself’—‘Ah tongues will wag, to be sure’ etc.) A most maddening type of female P’dayta. By the way doesn’t Tartuffe, specially in the opening scenes, bring out very strongly that Latin dominance of the familia which you have often spoken of?—except that in Tartuffe’s household it is not so much patria potestas as materna potestas: which possibly is very French too.

      Minto has probably told you that we are at present revelling in the unaccustomed luxury of a good maid. (What an ambiguous sentence!) You will hardly imagine the Kilns under the regime of a maid who not only can cook (that is odd enough) but who is actually allowed to cook by Minto—a state of affairs I had long since given up hoping for. Esto perpetua!

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