Chapter VII: Part 7

It was an April night, and we were lounging at that corner which was once called Poverty Point; the corner where Leather Lane crashes into Clerkenwell Road, and where, of a summer night, gather the splendid sons of Italy to discuss, to grin, to fight, and to invent new oaths. On this corner, moreover, they pivot in times of danger, and, once they can make the mazy circle of which it is the edge, safety from the pursuer is theirs. The place was alive with evening gladness. In the half-darkness, indolent groups lounged or strolled, filling their lungs with the heavily garlicked air of the place.

Then an organ pulled up at the public-house which smiles goldenly upon Mount Pleasant, and music broke upon us. Instantly, with the precision of a harlequinade, a stream of giggling girls poured from Eyre Street Hill and Back Hill. With the commencement of a rag-tag dance, the Point was whipped to frivolous life. The loungers grunted, and moved up to see. Clusters of children, little angels with dark eyes and language sufficiently seasoned to melt a glacier, slipped up from nowhere, and, one by one, the girls among them slid into the dance. One of them had a beribboned tambourine. Two others wanted it, and would snatch it away. Its owner said they were--something they could not possibly have been.

Stabs of light from the tenements pierced the dusk high and low. The night shone with recent rain, and in a shifting haze of grey and rose the dancers sank and glided, until the public-house lamp was turned on and a cornet joined the organ. In the warm yellow light, the revels broke bounds, and, to the hysterical appeal of "Hiawatha," the Point became a Babel.... When most of the dancers had danced themselves to exhaustion, two of the smaller maidens stood out and essayed a kind of can-can.

The crowd swooped in. It crowded with appreciation as they introduced all the piquant possibilities of the dance. It babbled its merriment at seeing little faces, which should show only the revel of April, bearing all the ravage of Autumn.

Comments and exhortations, spiced to taste, flew about the Point, ricochetted, and returned in boomerang fashion to their authors, who repolished them and shot them forth again. Heads bobbed back, forth, and up in the effort to see. In a prestissimo fire of joy, the novel exercise reached its finale, when ...

"Hi-hi! _He._ _Eeeee!_" As though by signal, the whole Point was suddenly aspurt with spears of flame, leaping, meeting, and crossing. We looked round. The dance stopped, the organ gurgled away to rubbish, the crowd took open order, and stared at the narrow alley of Back Hill. Blankets of smoke moved from its mouth, pushing their suffocating way up the street. Twenty people hurt themselves in shrieking orders. Women screamed and ran. From an open window a tongue of flame was thrust derisively; it tickled a man's neck, and he swore. Then a lone woman had the sense to scream something intelligible.

We all ran. English, Italian, and profane clashed together. Three small boys strangled each other in a race for the fire-bell. In Back Hill, men, women, and children were hustling themselves through the ground-floor window of the doomed house. Thick, languid flames blocked the doorway, swaying idly, ready to fasten their fangs in anything that approached. Furniture crashed and bounded to the pavement. Mattresses were flung out to receive the indecent figures of their owners. The crowd swelled feverishly. Women screamed.

Gradually the crackle of burning wood and the ripple of falling glass gained voice above the outcry of the crowd. A shout of fear and admiration surged up, as a spout of flame darted through the roof, and quivered proudly to the sky. Luigi threw back his sweeping felt hat, loosened his yellow neckcloth, tightened his scarlet waistband. "It is bad," he said. "It is a fire."

I said "Yes," having nothing else to say. A few Cockneys inquired resentfully why somebody didn't do something. Then the word went round that all were out but one. A woman was left at the top. A sick hush fell. Away in the upper regions a voice was wailing. The women turned pale, and one or two edged away. The men whistled silently, and looked serious. They had the air of waiting for something. It came. Luigi moved swiftly away from me, fought a way through the crowd, and stood by the door, his melodious head lashed by the fringe of the flames.

"I go up," he said operatically.

A dozen men dashed from him, crying things. "Wet blanket, there. Quick! Here's a bloke going up. Italiano's going up!"

At the back of the crowd, where I stood, a few fools cheered. They were English. "'Ray! 'Ray! 'Ray! Good iron! 'E's gotter nerve, 'e 'as. Wouldn't athought it o' them Italians."

The Italians were silent. From the house came long screams, terrible to hear in the London twilight. A Sicilian said something in his own language which cannot be set down; the proprietor of the Ristorante del Commercio also grew profane. The children stared and giggled, wonderingly. Blankets and buckets of water were conjured from some obscure place of succour. In half a minute the blankets were soaked, and Luigi was ready.

A wispy man in a dented bowler danced with excitement. "Oh, he's gotter nerve, if yeh like. Going to risk his life, he is. Going to risk his blasted life." Fresh and keener screams went down the golden stairway. Luigi flung the wet folds about him, vaulted the low sill, and then the wild light danced evilly about him. Outside, we watched and waited. A lurid silence settled, and the far cries of one of the late dancers who was receiving correction for dancing indecent dances seemed entirely to fill space. The atmosphere was, as it were, about to crack and buckle, and I was feeling that Luigi was a heroic fool, when a passing navvy, not susceptible to influences, saved the situation by bursting into song:--

"You're here and I'm here,
So what do we care?"

The wispy man looked round, reprovingly. "Easy on, there!" he implored.

"Whaffor?"

"Well ... chep's risking his life."

"Well ... 'at don't make no difference. Be 'appy while yeh can, I say."

"No, but ... chep's risking his life."

"Yew maide me love yew,
I didn't wanter do it!"

"Risking his life, and all!"

Then the climax was reached. A scream sounded from above, then silence, then a confused rush of feet. The figure of Luigi filled the opening of the low window, and those nearest surged in to help and see. He was dragged through, head first, and set on his feet. The fire-engine raved and jangled in Clerkenwell Road, but there was no way for it. The firemen tried to clear the crowd, but it would not be denied its sight of the hero. It struggled in to admire. It roared and yelled in one and a hundred voices. The cafe proprietor gestured magnificently. Regard the hero! How he was brave! The wispy man nearly had a fit. He skipped. Risked his life, and all. For a blasted stranger.

Luigi dropped the bundle gently from his arms, and stood over it, a little bewildered at his reception. The firemen fought furiously, and at last they cleared a passage for their plant. Then, as they cleared, the wispy man danced again, and seemed likely to die. He sprang forward and capered before Luigi. I tried to get through to help Luigi out, but I was wedged like a fishbone in the throat of the gang.

It was then that horrid screams came again from the house, winding off in ragged ends. The wispy, man spluttered.

"Yeh damn fool! Look what yeh brought down. Look at it. Yeh damn fool!"

Luigi looked still bewildered, and now I fought with sharp elbows, and managed to get to the front rank. The man's shaking finger pointed at Luigi's feet. "D'you know what you done, Italiano? You made a mistake. A blasted mistake. Aw ... yeh damn fool!"

I looked too. There was no woman at Luigi's feet. There was a bundle of sheets, blanket, and carpet. A scream came from the house. Every window filled with flame. The roof fell inwards with a crash and a rain of sparks.

Clerkenwell has never forgiven Luigi. Luigi has never forgiven himself.

A BASHER'S NIGHT

HOXTON

_LONDON JUNE_

_Rank odours ride on every breeze;
Skyward a hundred towers loom;
And factories throb and workshops wheeze,
And children pine in secret gloom.
To squabbling birds the roofs declaim
Their little tale of misery;
And, smiling over murk and shame,
A wild rose blows by Bermondsey._

_Where every traffic-thridden street
Is ribboned o'er with shade and shine,
And webbed with wire and choked with heat;
Where smokes with fouler smokes entwine;
And where, at evening, darkling lanes
Fume with a sickly ribaldry--
Above the squalors and the pains,
A wild rose blows by Bermondsey._

_Somewhere beneath a nest of tiles
My little garret window squats,
Staring across the cruel miles,
And wondering of kindlier spots.
An organ, just across the way,
Sobs out its ragtime melody;
But in my heart it seems to play:
A wild rose blows by Bermondsey!_

_And dreams of happy morning hills
And woodlands laced with greenest boughs
Are mine to-day amid the ills
Of Tooley Street and wharfside sloughs,
Though Cherry Gardens reek and roar,
And engines gasp their horrid glee;
I mark their ugliness no more:
A wild rose blows by Bermondsey._

A BASHER'S NIGHT

HOXTON

Hoxton is not merely virile; it is virulent. Life here hammers in the blood with something of the insistence of ragtime. The people--men, women, and children--are alive, spitefully alive. You feel that they are ready to do you damage, with or without reason. Here are antagonism and desire, stripped for battle. Little children, of three years old, have the spirit in them; for they lean from tenement landings that jut over the street, and, with becoming seriousness, spit upon the passing pedestrians, every hit scoring two to the marksman.

The colour of Hoxton Street is a tremendous purple. It springs upon you, as you turn from Old Street, and envelops you. There are high, black tenement houses. There are low cottages and fumbling passages. There are mellow fried-fish shops at every few yards. There are dirty beer-houses and a few public-houses. There are numerous cast-off clothing _salons_. And there are screeching Cockney women, raw and raffish, brutalized children, and men who would survive in the fiercest jungle. Also there is the Britannia Theatre and Hotel. The old Brit.! It stands, with Sadler's Wells and the Surrey, as one of the oldest homes of fustian drama. Sadler's Wells is now a picture palace, and the Surrey is a two-house Variety show. The old Brit. held out longest, but even that is going now. Its annual pantomime was one of the events of the London Season for the good Bohemian. Then all the Gallery First Nighters boys and girls would go down on the last night, which was Benefit Night for Mrs. Sara Lane, the proprietress. Not only were bouquets handed up, but the audience showered upon her tributes in more homely and substantial form. Here was a fine outlet for the originality of the crowd, and among the things that were passed over the orchestra-rails or lowered from boxes and circles were chests of drawers, pairs of corsets, stockings, pillow-cases, washhand jugs and basins, hip-baths, old boots, mince-pies, Christmas puddings, bottles of beer, and various items of lumber and rubbish which aroused healthy and Homeric laughter at the moment, but which, set down in print at a time when Falstaffian humour has departed from us, may arouse nothing but a curled lip and a rebuke. But it really was funny to see the stage littered with these tributes, which, as I say, included objects which are never exhibited in the light of day to a mixed company.

But the cream of Hoxton is its yobs. It is the toughest street in London. I don't mean that it is dangerous. But if you want danger, you have only to ask for it, and it is yours. It will not be offered you anywhere in London, but if you do ask for it, Hoxton is the one place where there is "no waiting," as the barbers say. The old Shoreditch Nile is near at hand, and you know what that was in the old days. Well, Hoxton to-day does its best to maintain the tradition of "The Nile."

Now once upon a time there was a baby-journalist named Simple Simon. He went down to Hoxton one evening, after dinner. It had been the good old English dinner of Simpson's, preceded by two vermuths, accompanied by a pint of claret, and covered in the retreat by four maraschinos. It was a picturesque night. A clammy fog blanketed the whole world. It swirled and swirled. Hoxton Street was a glorious dream, as enticingly indefinite as an opium-sleep. Simple Simon had an appointment here. The boys were to be out that night. Jimmie Flanagan, their leader, had passed the word to Simon that something would be doing, something worth being in. For that night was to witness the complete and enthusiastic bashing of Henry Wiggin, the copper's nark, the most loathed and spurned of all creeping things that creep upon the earth.

Simon walked like a lamb into the arms of trouble. He strolled along the main street, peering every yard of his way through the writhing gloom. Nobody was about. He reached Bell Yard, and turned into it. Then he heard something. Something that brought him to a sharp halt. Before he saw or heard anything more definite, he felt that he was surrounded. To place direction of sound was impossible. He heard, from every side, like the whisper of a load of dead leaves, the rush of rubber shoes. With some agility he leaped to what he thought was the clear side, only to take a tight arm like a rope across his chest and another about his knees.

"There's one fer yew, 'Enry!" cried a spirited voice as a spirited palm smote him on the nose.

"Hi! Hi! Easy!" Simon appealed. "I ain't 'Enry, dammit! You're bashing me--me--Simon!" He swore rather finely; but the fog, the general confusion, and, above all, the enthusiasm of bashing rendered identification by voice impracticable. Indeed, if any heard it, it had no effect; for, so they had some one to bash, they would bash. It didn't matter to them, just so it was a bash. Flanagan heard it quite clearly, but he knew the madness of attempting to stop eleven burly Hoxton yobs once they were well in....

"I'm not 'Enry. I ain't the nark!" But he was turned face downward, and his mouth was over a gully-hole, so that his protests scared only the rats in the sewer. He set his teeth, and writhed and jerked and swung, and for some seconds no bashing could proceed, for he was of the stuff of which swordsmen are made--small, lithe, and light: useless in a stand-up fight with fists, but good for anything in a scrum. When, however, as at present, eleven happy lads were seeking each a grip on his person, it became difficult to defeat their purpose. But at last, as he was about to make a final wrench at the expense of his coat, the metal tips on his boots undid him. He dug his heels backward to get a purchase, he struck the slippery surface of the kerb instead of the yielding wood of the roadway, and in a moment he was down beyond all struggle. A foot landed feelingly against his ribs, another took him on the face; and for all that they were rubbered they stung horribly. Then, with two pairs of feet on his stomach, and two on his legs, he heard that wild whisper that may unnerve the stoutest--

"Orf wi' yer belts, boys!"

The bashing of the nark was about to begin. There was a quick jingle as many leather belts were loosed, followed by a whistle, and--_zpt_! he received the accolade of narkhood. Again and again they came, and they stung and bit, and he could not move. They spat all about him. He swore crudely but sincerely, and if oaths have any potency his tormentors should have withered where they stood. Two and three at a time they came, for there were eleven of them--Flanagan having discreetly retired--and all were anxious to christen their nice new belts on the body of the hated nark; and they did so zealously, while Simon could only lie still and swear and pray for a happy moment that should free one of his hands....

He knew it was a mistake, and he kept his temper so far as possible. But human nature came out with the weals and bruises. He didn't want to do the dirty on them, he didn't want to take extreme steps, but dammit, this was the frozen limit. He knew that when their mistake was pointed out they would offer lavish apologies and pots of four-'arf, but the flesh is only the flesh.

"Turn the blanker over!"

In that moment, as he was lifted round, his left hand was freed. In a flash it fumbled at his breast. Twisting his head aside, he got something between his teeth, and through the fetid fog went the shiver and whine of the Metropolitan Police Call. Three times he blew, with the correct inflection.

At the first call he was dropped like a hot coal. From other worlds came an answering call. He blew again. Then, like thin jets of water, whistles spurted from every direction. He heard the sound of scuttering feet as his enemies withdrew. He heard the sound of scuttering feet as they closed in again. But he was not waiting for trouble. He pulled his burning self together, and ran for the lights that stammered through the gloom at the Britannia. He whistled as he ran. Curses followed him.

At the Britannia he collided with a slow constable. He flung a story at him. The constable inspected him, and took notes. The lurking passages began to brighten with life, and where, a moment ago, was sick torpidity was now movement, clamour. Distant whistles still cried. The place tingled with nervous life.

Some cried "Whassup?" and some cried "Stanback, cancher!" They stared, bobbed, inquired, conjectured. The women were voluble. The men spat. A forest of faces grew up about Simple Simon. A hurricane of hands broke about his head. The constable took notes and whistled. A humorist appeared.

"'Ullo, 'ullo, 'ullo! Back water there, some of yer. Stop yer shoving. Ain't nobody bin asking for me? Stop the fight. I forbid the bangs!"

But he was not popular. They jostled him.

"'Ere," cried some one, "let some one else have a see, Fatty! Other people wanter have a see, don't they?"

"Stanback--stanback! Why cancher stanback!"

Fatty inquired if Someone wanted a smash over the snitch. Because, if so....

A woman held that Simple Simon had a rummy hat on. There were pauses, while the crowd waited and shuffled its feet, as between the acts.

Fatty asked why some one didn't do something. Alwis the way, though--them police. Stanback--git back on your mat, Toby.

And then ... and then the swelling, clamorous, complaining crowd swooped in on itself with a sudden undeniable movement. Its centre flattened, wavered, broke, and the impelling force was brought face to face with Simple Simon and the constable. It was Flanagan and the boys.

Three pairs of arms collared the constable low. Simple Simon felt a jerk on his arm that nearly pulled it from its socket, and a crackling like sandpaper at his ear. "Bolt for it!"

And he would have done so, but at that moment the answering whistles leaped to a sharper volume, and through the distorting fog came antic shapes of blue, helmeted. The lights of the Britannia rose up. Panic smote the crowd, and for a moment there was a fury of feet.

Women screamed. Others cried for help. Some one cried, "Hot stuff, boys--let 'em 'ave it where it 'urts most!"

Fatty cried: "Git orf my foot! If I find the blank blank blank what trod on my blank 'and, I'll----!"

"Look out, boys! Truncheons are out!"

They ran, slipped, fell, rolled. A cold voice from a remote window, remarked, above the din, that whatever he'd done he'd got a rummy hat on. A young girl was pinioned against the wall by a struggling mass for whom there was no way. There was in the air an imminence of incident, acid and barbed. The girl screamed. She implored. Then, with a frantic movement, her free hand flew to her hat. She withdrew something horrid, and brought it down, horridly, three times. Three shrieks flitted from her corner like sparks from a funnel. But her passage was cleared.

Then some important fool pulled the fire-alarm.

"Stanback, Stinkpot, cancher? Gawd, if I cop that young 'un wi' the bashed 'elmet, I'll learn him hell!"

"If I cop 'old of the blanker what trod on my 'and, I'll----!"

"No, but--'e 'ad a rummy 'at on. 'E 'ad."

Away distant, one heard the brazen voice of the fire-engine, clanging danger through the yellow maze of Hoxton streets. There was the jangle of harness and bells; the clop-clop of hoofs, rising to a clatter. There was the scamper of a thousand feet as the engine swung into the street with the lordliest flourish and address. Close behind it a long, lean red thing swayed to and fro, like some ancient dragon seeking its supper.

"Whichway, whichway, whichway?" it roared.

"Ever bin had?" cried the humorist. "There ain't no pleading fire! This is a picnic, this is. 'Ave a banana?"

"WhichWAY?" screamed the engine. "Don't no one know which way?"

The humorist answered them by a gesture known in polite circles as a "raspberry." Then a constable, with fierce face, battered helmet, and torn tunic, and with an arm-lock on a perfectly innocent non-combatant, flung commands in rapid gusts--

"This way, Fire. King's name. Out hoses!"

The fog rolled and rolled. The Britannia gleamed on the scene with almost tragic solemnity. Agonized shapes rushed hither and thither. Women screamed. Then a rich Irish voice sang loud above all: "Weeny, boys!"

As the firemen leaped from their perches on the engine to out hoses, so, mysteriously, did the combat cease. Constables found themselves, in a moment, wrestling with thick fog and nothing more. The boys were gone. Only women screamed.

Some one said: "If I cop a hold of the blankety blank blanker what trod on my blanking 'and, I'll just about----!"

On the word "Weeny" Simple Simon was once again jerked by the arm, and hustled furiously down passages, round corners, and through alleyways, finally to be flung into the misty radiance of Shoreditch High Street, with the terse farewell: "Now run--for the love of glory, run!"

But he didn't. He stood still against a friendly wall, and suffered. He straightened his dress. He touched sore places with a tender solicitude. His head was racking. All his limbs ached and burned. He desired nothing but the cold sheets of his bed and a bottle of embrocation. He swore at the fog, with a fine relish for the colour of sounds. He swore at things that were in no way responsible for his misfortune. Somewhere, he conjectured, in warmth and safety, Henry Wiggin, the copper's nark, was perfectly enjoying his supper of fried fish and 'taters and stout.

And then, over the sad, yellow night, faint and sweet and far away, as the memory of childhood, came a still small voice--

"No, but 'e 'ad a rummy 'at on, eh?"

A DOWN-STREAM NIGHT

BLACKWALL

_WEST INDIA DOCK ROAD_

_Black man--white man--brown man--yellow man--
All the lousy Orient loafing on the quay:
Hindoo, Dago, Jap, Malay, and Chinaman
Dipping into London from the great green sea!_

_Black man--white man--brown man--yellow man--
Pennyfields and Poplar and Chinatown for me!
Stately-moving cut-throats and many-coloured mysteries,
Never were such lusty things for London lads to see!_

_On the evil twilight--rose and star and silver--
Steals a song that long ago in Singapore they sang:
Fragrant of spices, of incense and opium,
Cinnamon and aconite, the betel and the bhang._

_Three miles straight lies lily-clad Belgravia,
Thin-lipped ladies and padded men and pale.
But here are turbaned princes and velvet-glancing gentlemen,
Tom-tom and sharp knife and salt-caked sail._

_Then get you down to Limehouse, by riggings, wharf, and smoke-stack,
Glamour, dirt, and perfume, and dusky men and gold;
For down in lurking Limehouse there's the blue moon of the Orient--
Lamps for young Aladdins, and bowies for the bold!_

A DOWN-STREAM NIGHT

BLACKWALL

Tide was at flood, and below Limehouse Hole the waters thrashed the wharves with malice. The hour was late, but life ran high in those parts. Against the savage purple of the night a few wisps of rigging and some gruff funnels stood up in East and West India Docks.

Sheer above the walls of East India Dock rose the deck of the _Cawdor Castle_, as splendidly correct as a cathedral. The leaping lines of her seemed lost in the high skies, and she stood out sharply, almost ecstatically. Against such superb forces of man, the forces of Nature seemed dwarfed. It was a lyric in steel and iron. Men hurried from the landing-stage, up the plank, vanishing into the sly glooms of the huge port-holes. Chains rang and rattled. Lascars of every kind flashed here and there: Arabs, Chinkies, Japs, Malays, East Indians. Talk in every lingo was on the air. Some hurried from the dock, making for a lodging-house or for The Asiatics' Home. Some hurried into the dock, with that impassive swiftness which gives no impression of haste, but rather carries a touch of extreme languor. An old cargo tramp lay in a far berth, and one caught the sound of rushing blocks, and a monotonous voice wailing the Malayan chanty: "Love is kind to the least of men, EEEE-_ah_, EEEE-_ah_!" Boats were loading up. Others were unloading. Over all was the glare of arclights, and the flutter of honeyed tongues.

A few tugs were moored at the landing-stages. One or two men hung about them, smoking, spitting. The anger of the Blackwall streets came to them in throbbing blasts, for it was Saturday night, and closing time. Over the great plain of London went up a great cry. Outside the doors of every hostelry, in Piccadilly and Bermondsey, in Blackwall and Oxford Street, were gathered bundles of hilarity, lingering near the scenes of their recent splendours. A thousand sounds, now of revelry, now of complaint, disturbed the brooding calm of the sky. A thousand impromptu concerts were given, and a thousand insults grew precociously to blows. A thousand old friendships were shattered, and a thousand new vows of eternal comradeship and blood-brotherhood were registered. A thousand wives were waiting, sullen and heavy-eyed, for a thousand jovial or brutal mates; and a thousand beds received their occupants in full harness, booted and hatted, as though the enemy were at the gates. Everywhere strains of liquor-music surged up for the next thirty minutes, finally to die away piecemeal as different roads received different revellers.

In the hot, bilious dark of Blackwall, the tug swayed and jerked, and the voices of the men seemed almost to shatter the night. But high above them was the dirty main street, and there "The Galloping Horses" flared and fluttered and roared. There seemed to be trouble.... One heard a querulous voice: "I said TIME, din' I?" And another: "Well, let 'im prove it. Let 'im 'it me, that's all!" From the tug you could see the dust of the street rise in answering clouds to the assaults of many feet. Then, quite suddenly, the wide swing-doors of the bar flapped back. A golden gleam burst on the night and seemed to vomit a slithering mass of men which writhed and rolled like an octopus. Then you heard the collapsible gates run to their sockets with a glad clang, and the gas was switched off.

The fester of noise widened and widened, and at last burst into twenty minute pieces. And now a large voice commanded the silence of the night, and cried upon London: "What I said is what I say now: that fan-tan is fan-tan. And blasted miracles is blasted miracles."

I stood on the tug, with some of the boys, and in silence we watched the drama that was about to unfold itself. I had tramped there, unthinkingly, up the thunderous length of Rotherhithe Tunnel and down East India Dock Road and had fallen in with Chuck Lightfoot and some of his waterside cronies. We were lounging on the tug, so far as I remember, because we were lounging on the tug. For no other reason.

After the outcry of the Great Voice, there was a short silence. It was broken by a woman, who cried: "Ar-ferr!"

"You go on 'ome!" cried Arfer.

The woman replied that bad-word husbands who stayed out so bad-wordily late ought to be bad-wordily bad-worded. The next moment Arfer had gone down to a blow from the Great Voice.

Things began to happen. There was a loud scratch as a hundred feet scuttered backward. The victim sprang up. For a moment astonishment seemed to hold him, as he bleared; then he seemed about to burst with wrath; then he became a cold sportsman. The lady screamed for aid. He spat on his hands. He hitched his trousers. Hands down, chin protruded, he advanced on his opponent with the slow, insidious movement of the street fighter. The other man dashed in, beat him off with the left, and followed it with three to the face with the right. He pressed his man. He ducked a lumbering right swing, and sent a one-two to the body. The lady had lashed herself to a whirlwind of profanity. She spat words at the crowd, and oaths fell like toads from her lips. We below heard the crowd and the lady; but we saw only the principals of the combat until ... until the lady, disregarding the ethics of the game, flew in with screwed face, caught the coming arm of the big man, and pinioned it beneath her own.

"'Elp, 'elp, some of yeh!" she cried. Her husband fastened on to his enemy, tore at his collar with wild fingers, opened his mouth, and tried to bite. The big man struggled with both. The bulky form of the lady was swung back and forth by his cunning arm; and one heard the crowd stand by, press in, rush back, in rhythm to the movements of the battlers. A moment later the lady was down and out. A sudden blow at the breast from the great elbow. I heard her fall.... I heard the gasp of the crowd.

Here and there the blank street was suddenly struck to life. Warm blinds began to wink. One heard the creak of opening windows, and voices: "Why doncher separate 'em? Why cancher shut that plurry row?" With the new light one saw the crowd against a ground of chocolate hue. Here and there a cigarette picked out a face, glowing like an evil eye. All else was dank darkness.

Round and round the combatants went. Two well-set youngsters made a dash upon them, only to be swung from their feet into the crowd. They kicked, twisted, jerked, panted, now staggered a few paces, now stood still, straining silently. Now they were down, now up. Another woman's voice wailed across the unhappy water in the mournful accent of Belfast: "Fr-r-rank, Fr-rank, where arrre ye? Oh, Fr-rank, Fr-rank--ye br-reak me hear-r-t!"

Then Chuck Lightfoot, known also as The Panther, The Croucher, and The Prize Packet, shifted from my side. I looked at him. "Fed up on this, I am. Wait here." He vaulted from the deck of the tug to the landing-stage, strode up the gang-plank, and was lost in the long shaft of darkness.

From above one heard a noise--a nasty noise: the sound of a man's head being banged on the pavement. Frank's wife screamed: "Separate 'em! He's killin' 'im! Why don't some one do somethin'?"

Another woman cried: "I'll be sick. Stop 'em! I daresn't look."

Then everything stopped. We heard a low hum, swelling swiftly to a definite cry. The word "dead--dead--dead" flitted from mouth to mouth. Some turned away. Others approached as near as they dared, retreating fearfully when a push from behind drove them forward....

But nobody was dead. Into the centre light had dashed Chuck Lightfoot. Chuck Lightfoot was a pugilistic manager. He was a lot of other things besides. He was the straightest boy I have ever met in that line. He had every high animal quality that a man should have. And he had a cold nerve that made men twice his size afraid of him.

The fight was stopped. Two blows from Chuck had stopped it. The crowd gathered round and gave first aid to both combatants, while Chuck faced them, and waited for assaults. We climbed up and stood with him, but nothing happened. Tragedy is so often imminent in this region, and so often trickles away to rubbish. The crowd was vociferous and gestic. It swooped about us, and inquired, conjectured, disapproved, condemned.

Then came several blue helmets and swift dispersal.

The affair was over.

AN ART NIGHT

CHELSEA

_A LONDON MOMENT_

_Often have I, in my desolate years,
Flogged a jaded heart in loud saloons;
Often have I fled myself with tears,
Wandering under pallid, passionate moons._

_Often have I slunk through pleasured rites,
Lonely in the tumult of decay;
Often marked the hectic London nights
Flowing from the violet-lidded day._

_Yet, because of you, the world has been
Kindlier. Oh, little heart-o'-rose,
I have glimpsed a beauty seldom seen
In this labyrinthine mist of woes._

_Beauty smiles at me from common things,
All the way from Fleet Street to the Strand;
Even in the song the barmaid sings
I have found a fresh enchanted land._

_Pass me by, you little vagrant joy.
Brush me from your delicate mimic world.
Nothing of you now can e'er annoy,
Since your beauty has my heart empearled._

_Pass me by; and only let me say:
Glad I am for pain of loving you,
Glad--for, in the tumult of decay,
Life is nobler than I ever knew._

AN ART NIGHT

CHELSEA

"The choicest bit of London!" That is William Dean Howells' impression of Chelsea. And, if you would perceive rightly the soul of Chelsea, you must view it through the pearl-grey haze of just such a temperament as that of the suave American novelist. If you have not that temperament, then Chelsea is not for you; try Hampstead or Streatham or Bayswater.

Of all suburbs it is the most subtle. It has more soul in one short street than you will find in the whole mass of Oxford Street and Piccadilly. There is something curiously feminine and intoxicating in the quality of its charm, something that evokes the silver-pensive mood. One visions it as a graceful spinster--watered silks, ruffles, corkscrew curls, you know, with lily fingers caressing the keys of her harpsichord. Pass down Cheyne Walk at whatever time you will, and you are never alone; little companies of delicate fancy join you at every step. The gasworks may gloom at you from the far side. The L.C.C. cars may hum and clang. But fancy sweeps them away. It is like sitting amid the barbarities of a Hyde Park drawing-room, in the emerald dusk, listening to the pathetic wheezing of a musical-box, ridiculously sweet:--

Oh, don't you remember the days when we roamed,
Sweet Phillis, by lane and by lea?

Whatever you want in Chelsea--that you will find, assuming, of course, the possession of the Chelsea temperament. Whistler discovered her silvern beauty when he first saw her reclining by the river, beautifying that which beautifies her. All about Chelsea the colours seem to chime with their backgrounds as though they loved them; and when the lamps are lighted, flinging soft shadows on sixteenth and seventeenth-century gables and doorways and passages, then she becomes a place of wonder, a Bagdad, a treasure-ground for the artist.

And the artists have discovered her. Chelsea has much to show. Hampstead, Kensington, Mayfair--these be rich in gilt-trapping names, but no part of England can produce such a shining array of names, whose greatness owes nothing to time, place, or social circumstance: the names of those whose greatness is of the soul, and who have shaken the world with the beauty they have revealed to us. But Art has now taken possession of her, and it is as the studio of the artist that Chelsea is known to-day. Step this way, if you please. We draw the curtain. _Vie de Boheme!_ But not, mark you, the _vie de Boheme_ of Murger. True, Rodolphe and Marcel are here, and Mimi and Musette. But the studio is not the squalid garret that we know. We have changed all that. Rodolphe writes light verse for the "largest circulations." Mimi draws fashion plates, and dresses like the Duchess of the novelettes. Marcel--well, Marcel of Chelsea may be poor, but his is only a relative poverty. He is poor in so far as he dines for two shillings instead of five. The Marcel of to-day who is accustomed to skipping a meal by stress of circumstances doesn't live in Chelsea. He simply couldn't do it; look at the rents. He lives in Walworth Road or Kentish Town. No; there is a _vie de Boheme_ at Chelsea, but it is a Bohemia of coffee liqueurs and Turkish cigarettes.

The beginnings of the delectable suburb are obscure. It seems to have assumed importance on the day when Henry VIII "acquired" its manor, which led to the building of numerous sycophantic houses. The Duchess of Monmouth had a residence here, with the delightful John Gay as secretary. Can one imagine a modern Duchess with a modern poet as secretary? The same house was later occupied by the gouty dyspeptic Smollett, who wrote all his books at the top of his bad temper. Then came--but one could fill an entire volume with nothing but a list of the goodly fellowship of Chelsea.

The book about Chelsea has yet to be written. Such a book should disclose to us the soul of the place, with its eternal youth and eternal antiquity. It should introduce us to its charming ghosts--it is difficult to name one disagreeable person in this pageant; even the cantankerous Smollett was soothed when he came under its spell. It should enable us to touch finger-tips, perhaps make closer acquaintance, with Sir Thomas More, Erasmus, Hans Holbein, Thomas Shadwell (forgotten laureate), Carlyle, Whistler, Edwin Abbey, George Meredith, Swinburne, Holman Hunt, William Morris, Ford Madox Brown, Oscar and Willie Wilde, Count d'Orsay, George Eliot, and a host of lesser but equally adorable personalities whose names must come "among those present." It should show us its famous places. It should afford us peep-holes into the studios of famous artists--Augustus John's studio is a revelation in careful disarrangement; it should take us round a "Show Sunday"; it should reconstruct the naive gaieties of Cremorne; and, finally, it should recreate and illumine all the large, forgotten moments in the lives of those apostles of beauty whose ruminations and dreams the soul of Chelsea has fused with more of herself than men may know; ending, perhaps, with a disquisition on the effects of environment on the labours of genius.

Such a book must be done by a stranger, an observer, one with a gracious pen, a delicate, entirely human mind. There is one man above all who is divinely appointed for the task.

Please, Mr. W. D. Howells, will you write it for us?

* * * * *

I was strolling in philosophic mood down the never-ending King's Road, one November night, debating whether I should drop in at the Chelsea Palace, or have just one more at the "Bells," when I ran into the R.B.A. He is a large man, and running into him rather upsets one's train of thought. When I had smoothed my nose and dusted my trousers, I said: "Well, what about it?" He said: "Well, what about it?"

So we turned into the "Six Bells," the evening haunt of every good artist. He said he hadn't much money, so what about it? We decided on a Guinness to begin with, and then he ordered some Welsh Rarebits, while I inspected the walls of the saloon, which are decorated with nothing but originals, many of them bearing resounding names. In the billiard-room he introduced me to Augustus John and three other famous men who might not like it known that they drink beer in public-houses. When the Welsh Rarebits were announced, we went upstairs to the cosy dining-room and feasted gorgeously, watching, from the window, the many-coloured life of Chelsea....

When every scrap of food on our plates was gone, we had another Guinness, and I went back to his studio, a beautiful room with oak panelling and electric light, which he rented from a travelling pal for the ridiculous sum of three shillings a week. It stood next to the reconstructed Crosby Hall, and looked out on a wide prospect of sloping roofs, peppered with a sharp light.

He sat down and showed me his day's work. He showed me etchings, oils, pastels. He told me stories. He showed me caricatures of the famous people with whom he had _bohemed_. Then, at about ten o'clock, he said it was rather dull; and what about it? He knew a place, quite near, where some of the boys were sure to be; what about it?

So we descended the lone staircase, and came out to the windy embankment, where self-important little tugs were raking the water with the beams of their headlights. Thence we made many turnings, and stopped at a house near the Models' Club. At this club, which was formed only in 1913, the artists may go at any time to secure a model--which is a distinct boon. The old way was for the model to call on the artist, the result being that the unfortunate man was pestered with dozens of girls for whom he had no use, while the one model he really wanted never appeared. The club combines the advantages of club, employment bureau, and hotel. There is no smoking-room; every room is a smoking-room, for there are two things which are essential to the comfort of the girl-model, and they are cigarettes and sweets. These are their only indulgences, for, obviously, if you are depending for your livelihood on your personal figure, self-denial and an abstemious life are compulsory.

If you want to know what is doing in the art world, who is painting what, and why, then get yourself invited to tea--China tea only. The gathering is picturesque, for the model has, of course, the knack of the effective pose, not only professionally but socially. It is a beautiful club, and it is one more answer to the eternal question Why Girls Don't Marry. With a Models' Club, the Four Arts Club, the Mary Curzon Hotel, and the Lyceum Club, why on earth should they?

The R.B.A. pulled up short and said there we were, and what about it? We knocked at the door, and were admitted by an anarchist. At least, I think he was an anarchist, because he was just like the pictures. I have met only eighteen real anarchists, two of whom had thrown a bomb; but I could never really believe in them; they wore morning coats and bowler hats and were clean-shaven.

"Where are they?" asked the R.B.A.

"They're awa' oopstairs, laddie," said the anarchist. "Taak heed ye dinna stoomble; the carrrpet's a wee bit loose."

We crossed the tiny hall and ascended the shabby stairs. From an open door trickled the tones of a cheap piano and the mellow, philosophic chant of the 'cello. They were playing Elgar's "Salut d'Amour." The room was dark save for one candle at the piano and the dancing firelight. In the dusk it looked like Balestieri's picture of "Beethoven" which adorns every suburban drawing-room with a leaning towards the Artistic. People were sprawled here and there, but to distinguish them was impossible. I fell over some one's foot, and a light treble gurgled at me, "Sorry, old boy!" I caught a whisk of curls as the thin gleam of the candle fell that way. The R.B.A. crossed the room as one who was familiar with its topography, and settled himself in a far chair. The anarchist took my arm, and said:--

"Do ye sit down whurr ye can, laddie. And ye'll ha' a drink?"

I fell over some more feet and collapsed on a low settee. I found myself by the side of a lady in solemn crimson. Her raven hair was hanging down her back. Her arms were bare. She smoked a Virginia cigarette vindictively. Sometimes she leaned forward, addressed the piano, and said: "Shut that row, Mollie, can't you. We want to talk."

The anarchist brought me a Scotch-and-soda, and then she became aware of my presence. She looked at me; she looked at the drink. She said to the anarchist: "Where's mine?" He said: "What is it?" "Crem-dermont!" she snapped.

Out of the smoky glooms of the room came light laughter and merry voices. One saw dimly, as in a dream, graceful forms reclining gracefully, attended by carelessly dressed but distinguished young men. Some of these raised their voices, and one heard the self-proud accent of Oxford. The music stopped, and the girls sprawled themselves more and more negligently, nestling to the rough coats of the boys. The haze of smoke thickened. I prepared for a boring evening.

One of the Oxford boys said he knew an awfully good story, but it was rather risky, you know. I pricked up my ears. Did we know the story--story about a fellah--fellah who had an aunt, you know? And fellah's aunt was most frightfully keen on dogs and all that, you know.... After three minutes of it I lost interest in the story. It concerned Old George and Herbert and young Helen, and various other people who seemed familiar to everybody but myself.

I never heard the finish of it. I became rather interested in a scene near the window, where a boy of about my own age was furiously kissing a girl somewhat younger. Then the lady at my side stretched a long arm towards me, and languished, and making the best of a bad job, I languished, too. When the funny story and the fellah's aunt had been disposed of, some one else went to the piano and played Debussy, and the anarchist brought me another drink; and the whole thing was such painfully manufactured Bohemianism that it made me a little tired. The room, the appointments, the absence of light, Debussy, the drinks, and the girls' costumes were so obviously part of an elaborate make-up, an arrangement of life. The only spontaneous note was that which was being struck near the window. I decided to slip away, and fell down the ragged stairs into Chelsea, and looked upon the shadow-fretted streets, where the arc-lamps, falling through the trees, dappled the pavements with light.

The skies were dashed with stars and a sick moon. It was trying to snow. I tripped down the steps from the door, and ran lightly into a girl who stood at the gate, looking up at the room I had just left. The cheek that was turned toward me was clumsily daubed with carmine and rouge. Snowflakes fell dejectedly about her narrow shoulders. She just glanced at me, and then back at the window. I looked up, too. The piano was at it again, and some one was singing. The thread of light just showed you the crimson curtains and the heavy oak beams. The pianist broke into Delilah's song, and the voice swam after it. It was a clear, warm voice, typical of the fifth-rate concert platform. But the girl, her face uplifted, dropped her lips in a half-whispered exclamation of wonder, "Cuh!" I should have said that she was, for the first time, touching finger-tips with beauty. It moved her as something comic should have done. Her face lit to a smile, and then a chuckle of delight ran from her.

The voice was doing its best. It sank to despair, it leaped to lyric passion, it caressed a low note of ecstatic pain, and then, like a dew-delighted bird, it fled up and hovered on a timid note of appeal. The girl giggled. As the voice died on a long, soft note, she laughed aloud, and swallowed. She looked around and caught my eye. It seemed that she had something about which she must talk.

... "Not bad, eh?" she said.

"No," I answered. "Not so dusty."

"Makes you feel ... kind of rummy, you know, don't it? Wonder what it feels like to sing like that, eh? Makes me ... sort of ... 'fyou understand ... funny like. Makes me want to...."

From the window came one of the Oxford voices. "_No_ EARTHLY, dear old girl. You'll _never_ sing. Your _values_, you know, and _all_ that are...."

A RUSSIAN NIGHT

SPITALFIELDS AND STEPNEY

_STEPNEY CAUSEWAY_

_Beyond the pleading lip, the reaching hand,
Laughter and tear;
Beyond the grief that none would understand;
Beyond all fear.
Dreams ended, beauty broken,
Deeds done, and last words spoken,
Quiet she lies._

_Far, far from our delirious dark and light,
She finds her sleep.
No more the noisy silences of night
Shall hear her weep.
The blossomed boughs break over
Her holy breast to cover
From any eyes.
Till the stark dawn shall drink the latest star,
So let her be.
O Love and Beauty! She has wandered far
And now comes home to thee._

A RUSSIAN NIGHT

SPITALFIELDS AND STEPNEY

The Russian quarter always saddens me. For one thing, it has associations which scratch my heart regularly every month when my affairs take me into those parts. Forgetting is the most wearisome of all pains to which we humans are subject; and for some of us there is so much to forget. For some of us there is Beatrice to forget, and Dora, and Christina, and the devastating loveliness of Isabel. For another thing, its atmosphere is so depressingly Slavonic. It is as dismal and as overdone as Rachmaninoff's Prelude in C sharp minor. How shall I give you the sharp flavour of it, or catch the temper of its streets?

It seems impossible that one should ensnare its elusive spirit. Words may come, but they are words, hard and stiff-necked and pedestrian. One needs symbols and butterflies.

* * * * *

Beauty is a strange bird. Hither and thither she flies, and settles where she will; and men will say that she is found here and there--sometimes in Perugia, sometimes in Mayfair, sometimes in the Himalaya. I have known men who found her in the dark melancholy of Little Russia, and I can understand them. For beauty appears, too, in various guise; and some men adore her in silks and some in rags. There are girls in this quarter who will smite the heart out of you, whose beauty will cry itself into your very blood. White's Row and the fastnesses of Stepney do not produce many choice blooms; there are no lilies in these gardens of weeds. The girls are not romantic to regard or to talk with. They are not even clean. The secrets of their toilet are not known to me, but I doubt if soap and water ever appear in large quantities. And yet.... They walk or lounge, languorous and heavy-lidded, yet with a curious suggestion of smouldering fire in their drowsy gaze. Rich, olive-skinned faces they have, and hair either gloomy or brassy, and caressing voices with the lisp of Bethnal Green. You may see them about the streets which they have made their own, carrying loads of as enchanting curls as Murger's Mimi.

But don't run away with the idea that they are wistful, or luscious, or romantic; they are not. Go and mix with them if you nurse that illusion. Wistfulness and romance are in the atmosphere, but the people are practical ... more practical and much less romantic than Mr. John Jenkinson of Golder's Green.