But whatever be the pathos of the London poor, it has nothing to do with being uneducated. So far from being without guidance, they are guided constantly, earnestly, excitedly; only guided wrong. The poor are not at all neglected, they are merely oppressed; nay, rather they are persecuted. There are no people in London who are not appealed to by the rich; the appeals of the rich shriek from every hoarding and shout from every hustings. For it should always be remembered that the queer, abrupt ugliness of our streets and costumes are not the creation of democracy, but of aristocracy. The House of Lords objected to the Embankment being disfigured by trams. But most of the rich men who disfigure the street-walls with their wares are actually in the House of Lords. The peers make the country seats beautiful by making the town streets hideous. This, however, is parenthetical. The point is, that the poor in London are not left alone, but rather deafened and bewildered with raucous and despotic advice. They are not like sheep without a shepherd. They are more like one sheep whom twenty-seven shepherds are shouting at. All the newspapers, all the new advertisements, all the new medicines and new theologies, all the glare and blare of the gas and brass of modern times—it is against these that the national school must bear up if it can. I will not question that our elementary education is better than barbaric ignorance. But there is no barbaric ignorance. I do not doubt that our schools would be good for uninstructed boys. But there are no uninstructed boys. A modern London school ought not merely to be clearer, kindlier, more clever and more rapid than ignorance and darkness. It must also be clearer than a picture postcard, cleverer than a Limerick competition, quicker than the tram, and kindlier than the tavern. The school, in fact, has the responsibility of universal rivalry. We need not deny that everywhere there is a light that must conquer darkness. But here we demand a light that can conquer light.
VIII
The Broken Rainbow
I will take one case that will serve both as symbol and example; the case of colour. We hear the realists (those sentimental fellows) talking about the gray streets and the gray lives of the poor. But whatever the poor streets are they are not gray; but motley, striped, spotted, piebald and patched like a quilt. Hoxton is not aesthetic enough to be monochrome; and there is nothing of the Celtic twilight about it. As a matter of fact, a London gutter-boy walks unscathed among furnaces of colour. Watch him walk along a line of hoardings, and you will see him now against glowing green, like a traveller in a tropic forest; now black like a bird against the burning blue of the Midi; now passant across a field gules, like the golden leopards of England. He ought to understand the irrational rapture of that cry of Mr. Stephen Phillips about “that bluer blue, that greener green.” There is no blue much bluer than Reckitt’s Blue and no blacking blacker than Day and Martin’s; no more emphatic yellow than that of Colman’s Mustard. If, despite this chaos of colour, like a shattered rainbow, the spirit of the small boy is not exactly intoxicated with art and culture, the cause certainly does not lie in universal grayness or the mere starving of his senses. It lies in the fact that the colours are presented in the wrong connection, on the wrong scale, and, above all, from the wrong motive. It is not colours he lacks, but a philosophy of colours. In short, there is nothing wrong with Reckitt’s Blue except that it is not Reckitt’s. Blue does not belong to Reckitt, but to the sky; black does not belong to Day and Martin, but to the abyss. Even the finest posters are only very little things on a very large scale. There is something specially irritant in this way about the iteration of advertisements of mustard: a condiment, a small luxury; a thing in its nature not to be taken in quantity. There is a special irony in these starving streets to see such a great deal of mustard to such very little meat. Yellow is a bright pigment; mustard is a pungent pleasure. But to look at these seas of yellow is to be like a man who should swallow gallons of mustard. He would either die, or lose the taste of mustard altogether.
Now suppose we compare these gigantic trivialities on the hoardings with those tiny and tremendous pictures in which the medievals recorded their dreams; little pictures where the blue sky is hardly longer than a single sapphire, and the fires of judgment only a pygmy patch of gold. The difference here is not merely that poster art is in its nature more hasty than illumination art; it is not even merely that the ancient artist was serving the Lord while the modern artist is serving the lords. It is that the old artist contrived to convey an impression that colours really were significant and precious things, like jewels and talismanic stones. The colour was often arbitrary; but it was always authoritative. If a bird was blue, if a tree was golden, if a fish was silver, if a cloud was scarlet, the artist managed to convey that these colours were important and almost painfully intense: all the red red-hot and all the gold tried in the fire. Now that is the spirit touching colour which the schools must recover and protect if they are really to give the children any imaginative appetite or pleasure in the thing. It is not so much an indulgence in colour; it is rather, if anything, a sort of fiery thrift. It fenced in a green field in
