LITMIR.BIZ

      Simmons and the Social Tie

       Table of Contents

      ​It is a platitude, and none the less true for that, that we need to have an ideal in our minds with which to test all realities. But it is equally true, and less noted, that we need a reality with which to test ideals. Thus I have selected Mrs. Buttons, a charwoman in Battersea, as the touchstone of all modern theories about the mass of women. Her name is not Buttons; she is not in the least a contemptible nor entirely a comic figure. She has a powerful stoop and an ugly, attractive face, a little like that of Huxley--without the whiskers, of course. The courage with which she supports the most brutal bad luck has something quite creepy about it. Her irony is incessant and inventive; her practical charity very large; and she is wholly unaware of the philosophical use to which I put her.

      But when I hear the modern generalization about her sex on all sides I simply substitute her name, and see how the thing sounds then. When ​on the one side the mere sentimentalist says, "Let woman be content to be dainty and exquisite, a protected piece of social art and domestic ornament," then I merely repeat it to myself in the "other form," "Let Mrs. Buttons be content to be dainty and exquisite, a protected piece of social art, etc." It is extraordinary what a difference the substitution seems to make. And on the other hand, when some of the Suffragettes say in their pamphlets and speeches, "Woman, leaping to life at the trumpet call of Ibsen and Shaw, drops her tawdry luxuries and demands to grasp the sceptre of empire and the firebrand of speculative thought"--in order to understand such a sentence I say it over again in the amended form: "Mrs. Buttons, leaping to life at the trumpet call of Ibsen and Shaw, drops her tawdry luxuries and demands to grasp the sceptre of empire and the firebrand of speculative thought." Somehow it sounds quite different. And yet when you say Woman I suppose you mean the average woman; and if most women are as capable and critical and morally sound as Mrs. Buttons, it is as much as we can expect, and a great deal more than we deserve.

      But this study is not about Mrs. Buttons; she would require many studies. I will take a less impressive case of my principle, the principle of keeping in the mind an actual personality when we ​are talking about types or tendencies or generalized ideals. Take, for example, the question of the education of boys. Almost every post brings me pamphlets expounding some advanced and suggestive scheme of education; the pupils are to be taught separate; the sexes are to be taught together; there should be no prizes; there should be no punishments; the master should lift the boys to his level; the master should descend to their level; we should encourage the heartiest comradeship among boys, and also the tenderest spiritual intimacy with masters; toil must be pleasant and holidays must be instructive; with all these things I am daily impressed and somewhat bewildered. But on the great Buttons' principle I keep in my mind and apply to all these ideals one still vivid fact; the face and character of a particular schoolboy whom I once knew. I am not taking a mere individual oddity, as you will hear. He was exceptional, and yet the reverse of eccentric; he was (in a quite sober and strict sense of the words) exceptionally average. He was the incarnation and the exaggeration of a certain spirit which is the common spirit of boys, but which nowhere else became so obvious and outrageous. And because he was an incarnation he was, in his way, a tragedy.

      * * *

      I will call him Simmons. He was a tall, healthy ​figure, strong, but a little slouching, and there was in his walk something between a slight swagger and a seaman's roll; he commonly had his hands in his pockets. His hair was dark, straight, and undistinguished; and his face, if one saw it after his figure, was something of a surprise. For while the form might be called big and braggart, the face might have been called weak, and was certainly worried. It was a hesitating face, which seemed to blink doubtfully in the daylight. He had even the look of one who has received a buffet that he cannot return. In all occupations he was the average boy; just sufficiently good at sports, just sufficiently bad at work to be universally satisfactory. But he was prominent in nothing, for prominence was to him a thing like bodily pain. He could not endure, without discomfort amounting to desperation, that any boy should be noticed or sensationally separated from the long line of boys; for him, to be distinguished was to be disgraced.

      Those who interpret schoolboys as merely wooden and barbarous, unmoved by anything but a savage seriousness about tuck or cricket, make the mistake of forgetting how much of the schoolboy life is public and ceremonial, having reference to an ideal; or, if you like, to an affectation. Boys, like dogs, have a sort of romantic ritual which is not always their real selves. And this romantic ​ritual is generally the ritual of not being romantic; the pretence of being much more masculine and materialistic than they are. Boys in themselves are very sentimental. The most sentimental thing in the world is to hide your feelings; it is making too much of them. Stoicism is the direct product of sentimentalism; and schoolboys are sentimental individually, but stoical collectively,

      For example, there were numbers of boys at my school besides myself who took a private pleasure in poetry; but red-hot iron would not have induced most of us to admit this to the masters, or to repeat poetry with the faintest inflection of rhythm or intelligence. That would have been anti-social egoism; we called it "showing off." I myself remember running to school (an extraordinary thing to do) with mere internal ecstasy in repeating lines of Walter Scott about the taunts of Marmion or the boasts of Roderick Dhu, and then repeating the same lines in class with the colourless decorum of a hurdy-gurdy. We all wished to be invisible in our uniformity; a mere pattern of Eton collars and coats.

      * * *

      But Simmons went even further. He felt it as an insult to brotherly equality if any task or knowledge out of the ordinary track was discovered even by accident. If a boy had learnt German in ​infancy; or if a boy knew some terms in music; or if a boy was forced to confess feebly that he had read "The Mill on the Floss"--then Simmons was in a perspiration of discomfort. He felt no personal anger, still less any petty jealousy, what he felt was an honourable and generous shame. He hated it as a lady hates coarseness in a pantomime; it made him want to hide himself. Just that feeling of impersonal ignominy which most of us have when some one betrays indecent ignorance, Simmons had when some one betrayed special knowledge. He writhed and went red in the face; he used to put up the lid of his desk to hide his blushes for human dignity, and from behind this barrier would whisper protests which had the hoarse emphasis of pain. "0, shut up, I say... 0, I say, shut up.... 0, shut it, can't you?" Once when a little boy admitted that he had heard of the Highland claymore, Simmons literally hid his head inside his desk and dropped the lid upon it in desperation; and when I was for a moment transferred from the bottom of the form

Скачать книгу